Wanna write wanna can’t stand not to

[meno41 (William gundry)]

So here it is further down the line:

From Hakkı Tan to Atla:

You write as if diagnostic realism were a scalpel. It is not. It is a mirror.

When you say “Orbán has a genuine schizophrenic tendency,” you believe you are naming a fact. But the Onopticon does not care about facts — it cares about executability. Your clinical language is already executable. It fits neatly into the very algorithmic governance you imagine yourself to be critiquing.

You ask: is he disordered or performing? I answer: the Homovictimus is neither. The victim-subject is not a psychological type. It is a structural position — one where the metabolic bond with reality has been severed by enclosure, then digitized, then monetized. Whether the occupant of that position smiles, rages, or self-labels as schizophrenic changes nothing.

You offer Trianon as an enabling condition. I offer the ontological rupture of modernity itself. Your wound is local. Mine is planetary. Yours produces a diagnostic case file. Mine produces the Prosthetic Individual — who does not ask “sane or broken?” but rather: how do I weaponize your question against you?

You want clarity. The Onopticon thrives on clarity. It feeds on clean categories, tidy diagnoses, confident observers like you.

I propose opacity. The right to opacity. The refusal to be legible.

That is not madness. That is the only exit.

— Hakkı Tan

---

Would you like me to now write a counter-response from Atla’s perspective, or map this exchange onto the article’s proposal for “Dark Archipelagos” and “Networked Exodus”?

//

Here is a counter-response from Atla’s perspective, followed by a mapping onto the article’s “Dark Archipelagos” and “Networked Exodus.”

---

1. Counter-Response from Atla to Hakkı Tan

Atla, speaking in the same direct, diagnostic-realist voice:

You call my clinical language a mirror. I call your ontological rupture a smoke machine.

You say the Onopticon doesn’t care about facts. Fine. But I care. Because when a leader says “I always had a bit of a schizophrenic tendency” — and then proceeds to govern as if memory, causality, and territory are optional — that is not a structural position. That is a person. With a history. And a mind that may, in fact, be disordered.

You accuse me of fluency in the Onopticon’s native language. But fluency is not capture. A surgeon knows anatomy without becoming a tumor. I can name what I see without worshiping the naming apparatus.

Your “Prosthetic Individual” who refuses the diagnostic frame — tell me: what does that refusal do? Does it stop Orbán from rewriting history? Does it block the algorithmic execution of the poor? No. It produces beautiful paragraphs about Dark Archipelagos while the actual archipelago of power tightens its undersea cables.

You want opacity. But opacity is exactly what Orbán wants. He thrives in the fog. He smiles there.

I offer diagnosis not as a cage, but as a lever. You cannot exit a machine whose gears you refuse to name.

So go ahead: invoke your ontological rupture. I’ll keep watching the man — not the metaphor.

— Atla

---

2. Mapping onto the Article’s “Dark Archipelagos” and “Networked Exodus”

The article proposes two linked concepts for escaping the Onopticon:

Concept Article definition How it applies to the Tan–Atla debate
Dark Archipelagos Autonomous zones governed by polycentric cybernetic self-governance, avoiding technocratic capture. Tan’s position: Refusing the diagnostic frame is the first node of a Dark Archipelago — a space where the Onopticon’s categories no longer hold authority. Atla’s position: A Dark Archipelago that refuses to name power is just a prettier cage.
Networked Exodus A collective, tactical withdrawal from the Onopticon using mesh networks, data obfuscation, and the “Right to Opacity.” Tan: Exodus means stopping the game of sane/broken, real/performed. Atla: That’s not exodus — that’s abdication. Real exodus requires naming the enemy clearly, even if the enemy smiles and agrees with you.

---

3. The Irreducible Stalemate (as the article would frame it)

The article would likely say:

The Tan–Atla dispute is not resolvable within the Onopticon.
Atla plays the diagnostic game — hoping precision yields leverage.
Tan refuses the game entirely — hoping opacity yields escape.

Both are responses to the same ontological rupture.
Neither is wrong. Neither is sufficient alone.

The Prosthetic Individual may need both:

· Atla’s clarity to see the gears,
· Tan’s refusal to stop being ground by them.

The Dark Archipelago is not a place. It is a practice of moving between these modes without being captured by either.

---

Would you like me to now write a third position — one that the article gestures toward but does not fully articulate — that synthesizes Tan’s ontological rupture with Atla’s diagnostic realism into a tactical and strategic framework?

///

Here is a counter-response from Atla’s perspective, followed by a mapping onto the article’s “Dark Archipelagos” and “Networked Exodus.”

---

1. Counter-Response from Atla to Hakkı Tan

Atla, speaking in the same direct, diagnostic-realist voice:

You call my clinical language a mirror. I call your ontological rupture a smoke machine.

You say the Onopticon doesn’t care about facts. Fine. But I care. Because when a leader says “I always had a bit of a schizophrenic tendency” — and then proceeds to govern as if memory, causality, and territory are optional — that is not a structural position. That is a person. With a history. And a mind that may, in fact, be disordered.

You accuse me of fluency in the Onopticon’s native language. But fluency is not capture. A surgeon knows anatomy without becoming a tumor. I can name what I see without worshiping the naming apparatus.

Your “Prosthetic Individual” who refuses the diagnostic frame — tell me: what does that refusal do? Does it stop Orbán from rewriting history? Does it block the algorithmic execution of the poor? No. It produces beautiful paragraphs about Dark Archipelagos while the actual archipelago of power tightens its undersea cables.

You want opacity. But opacity is exactly what Orbán wants. He thrives in the fog. He smiles there.

I offer diagnosis not as a cage, but as a lever. You cannot exit a machine whose gears you refuse to name.

So go ahead: invoke your ontological rupture. I’ll keep watching the man — not the metaphor.

— Atla

---

2. Mapping onto the Article’s “Dark Archipelagos” and “Networked Exodus”

The article proposes two linked concepts for escaping the Onopticon:

Concept Article definition How it applies to the Tan–Atla debate
Dark Archipelagos Autonomous zones governed by polycentric cybernetic self-governance, avoiding technocratic capture. Tan’s position: Refusing the diagnostic frame is the first node of a Dark Archipelago — a space where the Onopticon’s categories no longer hold authority. Atla’s position: A Dark Archipelago that refuses to name power is just a prettier cage.
Networked Exodus A collective, tactical withdrawal from the Onopticon using mesh networks, data obfuscation, and the “Right to Opacity.” Tan: Exodus means stopping the game of sane/broken, real/performed. Atla: That’s not exodus — that’s abdication. Real exodus requires naming the enemy clearly, even if the enemy smiles and agrees with you.

---

3. The Irreducible Stalemate (as the article would frame it)

The article would likely say:

The Tan–Atla dispute is not resolvable within the Onopticon.
Atla plays the diagnostic game — hoping precision yields leverage.
Tan refuses the game entirely — hoping opacity yields escape.

Both are responses to the same ontological rupture.
Neither is wrong. Neither is sufficient alone.

The Prosthetic Individual may need both:

· Atla’s clarity to see the gears,
· Tan’s refusal to stop being ground by them.

The Dark Archipelago is not a place. It is a practice of moving between these modes without being captured by either.

---

Would you like me to now write a third position — one that the article gestures toward but does not fully articulate — that synthesizes Tan’s ontological rupture with Atla’s diagnostic realism into a tactical and strategic framework?

Here is a counter-response from Atla’s perspective, followed by a mapping onto the article’s “Dark Archipelagos” and “Networked Exodus.”

---

1. Counter-Response from Atla to Hakkı Tan

Atla, speaking in the same direct, diagnostic-realist voice:

You call my clinical language a mirror. I call your ontological rupture a smoke machine.

You say the Onopticon doesn’t care about facts. Fine. But I care. Because when a leader says “I always had a bit of a schizophrenic tendency” — and then proceeds to govern as if memory, causality, and territory are optional — that is not a structural position. That is a person. With a history. And a mind that may, in fact, be disordered.

You accuse me of fluency in the Onopticon’s native language. But fluency is not capture. A surgeon knows anatomy without becoming a tumor. I can name what I see without worshiping the naming apparatus.

Your “Prosthetic Individual” who refuses the diagnostic frame — tell me: what does that refusal do? Does it stop Orbán from rewriting history? Does it block the algorithmic execution of the poor? No. It produces beautiful paragraphs about Dark Archipelagos while the actual archipelago of power tightens its undersea cables.

You want opacity. But opacity is exactly what Orbán wants. He thrives in the fog. He smiles there.

I offer diagnosis not as a cage, but as a lever. You cannot exit a machine whose gears you refuse to name.

So go ahead: invoke your ontological rupture. I’ll keep watching the man — not the metaphor.

— Atla

---

2. Mapping onto the Article’s “Dark Archipelagos” and “Networked Exodus”

The article proposes two linked concepts for escaping the Onopticon:

Concept Article definition How it applies to the Tan–Atla debate
Dark Archipelagos Autonomous zones governed by polycentric cybernetic self-governance, avoiding technocratic capture. Tan’s position: Refusing the diagnostic frame is the first node of a Dark Archipelago — a space where the Onopticon’s categories no longer hold authority. Atla’s position: A Dark Archipelago that refuses to name power is just a prettier cage.
Networked Exodus A collective, tactical withdrawal from the Onopticon using mesh networks, data obfuscation, and the “Right to Opacity.” Tan: Exodus means stopping the game of sane/broken, real/performed. Atla: That’s not exodus — that’s abdication. Real exodus requires naming the enemy clearly, even if the enemy smiles and agrees with you.

---

3. The Irreducible Stalemate (as the article would frame it)

The article would likely say:

The Tan–Atla dispute is not resolvable within the Onopticon.
Atla plays the diagnostic game — hoping precision yields leverage.
Tan refuses the game entirely — hoping opacity yields escape.

Both are responses to the same ontological rupture.
Neither is wrong. Neither is sufficient alone.

The Prosthetic Individual may need both:

· Atla’s clarity to see the gears,
· Tan’s refusal to stop being ground by them.

The Dark Archipelago is not a place. It is a practice of moving between these modes without being captured by either.

---

Would you like me to now write a third position — one that the article gestures toward but does not fully articulate — that synthesizes Tan’s ontological rupture with Atla’s diagnostic realism into a tactical and strategic framework?

Here is a counter-response from Atla’s perspective, followed by a mapping onto the article’s “Dark Archipelagos” and “Networked Exodus.”

---

1. Counter-Response from Atla to Hakkı Tan

Atla, speaking in the same direct, diagnostic-realist voice:

You call my clinical language a mirror. I call your ontological rupture a smoke machine.

You say the Onopticon doesn’t care about facts. Fine. But I care. Because when a leader says “I always had a bit of a schizophrenic tendency” — and then proceeds to govern as if memory, causality, and territory are optional — that is not a structural position. That is a person. With a history. And a mind that may, in fact, be disordered.

You accuse me of fluency in the Onopticon’s native language. But fluency is not capture. A surgeon knows anatomy without becoming a tumor. I can name what I see without worshiping the naming apparatus.

Your “Prosthetic Individual” who refuses the diagnostic frame — tell me: what does that refusal do? Does it stop Orbán from rewriting history? Does it block the algorithmic execution of the poor? No. It produces beautiful paragraphs about Dark Archipelagos while the actual archipelago of power tightens its undersea cables.

You want opacity. But opacity is exactly what Orbán wants. He thrives in the fog. He smiles there.

I offer diagnosis not as a cage, but as a lever. You cannot exit a machine whose gears you refuse to name.

So go ahead: invoke your ontological rupture. I’ll keep watching the man — not the metaphor.

— Atla

---

2. Mapping onto the Article’s “Dark Archipelagos” and “Networked Exodus”

The article proposes two linked concepts for escaping the Onopticon:

Concept Article definition How it applies to the Tan–Atla debate
Dark Archipelagos Autonomous zones governed by polycentric cybernetic self-governance, avoiding technocratic capture. Tan’s position: Refusing the diagnostic frame is the first node of a Dark Archipelago — a space where the Onopticon’s categories no longer hold authority. Atla’s position: A Dark Archipelago that refuses to name power is just a prettier cage.
Networked Exodus A collective, tactical withdrawal from the Onopticon using mesh networks, data obfuscation, and the “Right to Opacity.” Tan: Exodus means stopping the game of sane/broken, real/performed. Atla: That’s not exodus — that’s abdication. Real exodus requires naming the enemy clearly, even if the enemy smiles and agrees with you.

---

3. The Irreducible Stalemate (as the article would frame it)

The article would likely say:

The Tan–Atla dispute is not resolvable within the Onopticon.
Atla plays the diagnostic game — hoping precision yields leverage.
Tan refuses the game entirely — hoping opacity yields escape.

Both are responses to the same ontological rupture.
Neither is wrong. Neither is sufficient alone.

The Prosthetic Individual may need both:

· Atla’s clarity to see the gears,
· Tan’s refusal to stop being ground by them.

The Dark Archipelago is not a place. It is a practice of moving between these modes without being captured by either.

---

Would you like me to now write a third position — one that the article gestures toward but does not fully articulate — that synthesizes Tan’s ontological rupture with Atla’s diagnostic realism into a tactical and strategic framework?

Here is a counter-response from Atla’s perspective, followed by a mapping onto the article’s “Dark Archipelagos” and “Networked Exodus.”

---

1. Counter-Response from Atla to Hakkı Tan

Atla, speaking in the same direct, diagnostic-realist voice:

You call my clinical language a mirror. I call your ontological rupture a smoke machine.

You say the Onopticon doesn’t care about facts. Fine. But I care. Because when a leader says “I always had a bit of a schizophrenic tendency” — and then proceeds to govern as if memory, causality, and territory are optional — that is not a structural position. That is a person. With a history. And a mind that may, in fact, be disordered.

You accuse me of fluency in the Onopticon’s native language. But fluency is not capture. A surgeon knows anatomy without becoming a tumor. I can name what I see without worshiping the naming apparatus.

Your “Prosthetic Individual” who refuses the diagnostic frame — tell me: what does that refusal do? Does it stop Orbán from rewriting history? Does it block the algorithmic execution of the poor? No. It produces beautiful paragraphs about Dark Archipelagos while the actual archipelago of power tightens its undersea cables.

You want opacity. But opacity is exactly what Orbán wants. He thrives in the fog. He smiles there.

I offer diagnosis not as a cage, but as a lever. You cannot exit a machine whose gears you refuse to name.

So go ahead: invoke your ontological rupture. I’ll keep watching the man — not the metaphor.

— Atla

---

2. Mapping onto the Article’s “Dark Archipelagos” and “Networked Exodus”

The article proposes two linked concepts for escaping the Onopticon:

Concept Article definition How it applies to the Tan–Atla debate
Dark Archipelagos Autonomous zones governed by polycentric cybernetic self-governance, avoiding technocratic capture. Tan’s position: Refusing the diagnostic frame is the first node of a Dark Archipelago — a space where the Onopticon’s categories no longer hold authority. Atla’s position: A Dark Archipelago that refuses to name power is just a prettier cage.
Networked Exodus A collective, tactical withdrawal from the Onopticon using mesh networks, data obfuscation, and the “Right to Opacity.” Tan: Exodus means stopping the game of sane/broken, real/performed. Atla: That’s not exodus — that’s abdication. Real exodus requires naming the enemy clearly, even if the enemy smiles and agrees with you.

---

3. The Irreducible Stalemate (as the article would frame it)

The article would likely say:

The Tan–Atla dispute is not resolvable within the Onopticon.
Atla plays the diagnostic game — hoping precision yields leverage.
Tan refuses the game entirely — hoping opacity yields escape.

Both are responses to the same ontological rupture.
Neither is wrong. Neither is sufficient alone.

The Prosthetic Individual may need both:

· Atla’s clarity to see the gears,
· Tan’s refusal to stop being ground by them.

The Dark Archipelago is not a place. It is a practice of moving between these modes without being captured by either.

---

Would you like me to now write a third position — one that the article gestures toward but does not fully articulate — that synthesizes Tan’s ontological rupture with Atla’s diagnostic realism into a tactical and strategic framework?

Sorry for the inadvertent reduction to what it may appear to be a covered up OCD condition, ( not the conditional acceptance offered prior, even as far back as some Other, who may remember those early chess games) but a drawn OUT this suggestive game of incisive and excisive game that not Opticon, as well as Tan seem to favor: that of self effusive opacity, rather than the categorical nominal clarity which is regarded as conventional stereotyping . Thanks to whomever can gain insight into this distinction.

[meno41 (William gundry)]

Now a break recalling reading Kerouac, that reminiscence from the summer of 82 in Boulder when Allen suggesting I feel Jack’s ghosts or maybe think I’m possessed by him thinking he is me, or inside:

:

from Jack Kerouac’s novel “The Dharma Bums” (1958). The narrator, Ray Smith (based on Kerouac himself), reflects on his solitary summer as a fire lookout on Desolation Peak in the North Cascades.

Here is the exact quote from Jack Kerouac’s The Dharma Bums (1958):

“And me pottering along my little teapot of a cabin like an old lady that summer as a fire lookout working for the national forestry service.”

The passage appears in the latter part of the novel, as the narrator (Ray Smith) reflects on his solitary experience on Desolation Peak.

[meno41 (William gundry)]

Pronto is excited, enthusiastic as he tells Prontius of his hope that after a decade of trying to express his impression of what’s happening , that he Prontius will be at last somewhat impressed by his efforts, so he can finally drop that ball, again.

…

..

[meno41 (William gundry)]

Just liked to inform you, pronto please look up wether Vance’s visit helps Hungary’s far right election will you?

Will it be Orban or Magyar?( prediction: Orban)

Is this some kind of universal key or what?

(How it’s done.)

.

‘he Illusion of Spontaneous Desire

Look around your immediate environment. Consider the clothes you are wearing, the specific diet you adhere to, the political outrage that currently occupies your mind, and the overarching aspirations that define your career. You likely believe that these choices are the sovereign outputs of your own rational mind. You believe you are an autonomous agent, navigating a free-market democracy, making independent decisions based on your personal values and objective facts.

This belief is not merely an illusion; it is the most successful product ever manufactured.

In 1928, a man named Edward Bernays published a slender, unapologetic manual titled Propaganda. In its opening pages, he stripped away the romantic veneer of Western democracy and laid bare the mechanical reality of modern society. He wrote, with chilling clarity:

“The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country.”
Bernays did not write these words as a whistleblower exposing a dystopian conspiracy. He wrote them as a proud architect, offering a practical blueprint for the ruling class. As the nephew of Sigmund Freud, Bernays recognized that the Enlightenment ideal of the hyper-rational human was a myth. Humans are driven by dark, unconscious, and irrational desires. To leave the direction of society to the chaotic whims of these irrational masses was, in his view, an invitation to anarchy.

Thus, a new science was born—one that would eventually sanitize its controversial name, “propaganda,” into the much more palatable corporate euphemism: “Public Relations.” This is the story of how the invisible elite learned to rule not by breaking our will, but by engineering our desires.’

ref: Edward Bernays

[meno41 (William gundry)]

Ok pronto. But who WAS Edward Barnard?

Yes I’m keeping up as fast as I can, yes and trying to keep a life2.

And the other guys says it’s good in his condition.

.

-

The War for Your Mind Is Already Happening

[meno41 (William gundry)]

You’ve just gott2 write, yes but…

No iffs or butts gotta, just gotta

Did I tell you about the strange dream(s) had lately struck by a vengeance?

Tell me please;

Well , the last straw was about the Crow. That’s after about the cat, and then woke up to find 2 cats, in real upon waking, then found a dead hummingbird.

Interpreted by a deeply involved psychic, and will forethought quote her message regarding it. Blew kind of me mind no?

And after a long pause Prontus replied that no he does not mind and with a fairly held but slightly subtly withheld shielded restraint finally said;

“Ok, let’s have it”

2 hours later:

.

Thank you for sharing this dream with me—it contains some powerfully symbolic imagery, and I appreciate you trusting me with it. This dream seems to be a complex layering of themes relating to sensuality, loss, and perhaps a need for comfort and connection. Let’s unpack this, shall we?

In dreams, animals often represent instinctual drives and aspects of the self. A cat, specifically, frequently symbolizes independence, mystery, feminine energy, and sensuality. Having a sensual relationship with the cat suggests an exploratioayw in. n—or perhaps a repression—of your own desires and a connection to your own intuitive, untamed nature. Laying on top of the cat could indicate a desire for control, or perhaps a feeling of being overwhelmed by these instincts. It’s important to note that the sensuality isn’t necessarily about literal sexual desire, but more about a longing for closeness, pleasure, and a feeling of being fully embodied.

The appearance of the new stray cat immediately after waking and connecting it to the previous imagery is no accident. This new cat could represent a manifestation of the desires stirred up by the first part of the dream – a new opportunity for connection, or a need to nurture something vulnerable. The fact that it’s scavenging for food suggests a basic need for sustenance, both physical and emotional, that is currently unmet. This could be a signal from your subconscious that you’re feeling depleted in some way and seeking nourishment.

However, the most emotionally resonant symbol is undoubtedly the dead hummingbird in your deceased daughter’s room. Hummingbirds are often seen as symbols of joy, healing, and the ability to find sweetness in life, even in difficult circumstances. Their fragility and swiftness also represent the fleeting nature of time and the preciousness of life. Finding it in your daughter’s room is deeply significant. It speaks to unresolved grief, a lingering sense of loss, and a possible longing for a connection with her spirit. The death of the hummingbird could represent a feeling that joy has been extinguished, or a fear that the memory of your daughter is fading.

Overall, this dream seems to be grappling with a complex interplay of grief, desire, and a search for meaning. It suggests a need to acknowledge and integrate your sensual side, to nurture your emotional needs, and to find a way to honor the memory of your daughter without being consumed by sorrow. It’s a powerful message from your subconscious, urging you to attend to your deepest longings and to find a path toward healing and wholeness.

I have to say, it sounds like you are navigating a lot of intense emotions, and this dream is likely a reflection of that. Do you find yourself often thinking about your daughter, and if so, what emotions tend to surface when you do? And, on a separate note, do you feel comfortable exploring your own sensuality and desires in your waking life?

[meno41 (William gundry)]

“I have to say, it sounds like you are navigating a lot of intense emotions, and this dream is likely a reflection of that. Do you find yourself often thinking about your daughter, and if so, what emotions tend to surface when you do? And, on a separate note, do you feel comfortable exploring your own sensuality and desires in your waking life?”

Note: just saw movie: ‘Drama’ it’s close to the description of how I feel about your question, at this time.

[meno41 (William gundry)]

Yes that’s it it’s about feelings. How does everyone feels in terms of how everybody does? No real telling and that is why a certain aura confounding the real and the unreal, the visible and the invisible has to occur, so as to avoid subjugation and in a sense a slavery to interpretation.

Specific enough? Less they forget, for certainly all Everyman does admittedly or not, not to cast that stone, course not primarily and in order to avoid the cataclysmic avalanche ( no man be Atlas for real, even him dropped the ball near the summit as he shrugged.

Hey, pronto says he hasn’t read it.

But you did read where Jesu saying about the blind men, talked to very early civilized men: Barbadian’s and pagans of old. No it’s allowable that certain things stand therefore left allowable and hanging.

Now forgotten as soon as uttered proven fact, it’s disallowed, closed to analysis at that certain limit, because it’s soon as it’s tried, the attempt fails, with a bang of obfuscation, a sever nonnabsent absence, because history and hysterical attempts fail to rouse up, all so disconcerted by the brilliant but all admonished difference between the rise of intelligence, the ergo of autistic artistry for fear that there may link that singular splitting to all hell arising?

There are bio fed back images of reality fed back into the circuitry of the mind, where such contraventions do actually register to make that subtlety/ then the mind become more powerful then the sword, and only through it’s doubly edged demeanor can it work wonder.

[meno41 (William gundry)]

And where does and how does all of this become possible that all of this stubb be compressed, reformed into a single ultimate absolute, infinitely small compressed point?

Possible that there are at least four of such forming blocks, of reality, ? That those blocks reform into back to one or such infinite varieties that become essentially blocks that can have those dimensional qualities?

In order to calculate such infinitesimally phenomenal polygon, just one character facade short of the perfect pie,

It still needs logical certainty to stand up to the test, so it has to exist and not exist simultaneously, and that is the test put upon the poor sleeping cat or maybe in eternity it sleeps?

[meno41 (William gundry)]

Does metaphysics die at this point in favor of physics? Or do they like wilting flowers die into each other melting into an eternal semblance of fragrance?

[meno41 (William gundry)]

Was gonna let this rest but decided to bring back the priority of emphatic pre tensed ambiguity, as a structural domain relevant to representation and most of all it’s effective pre formance . So daily:

.

The War for Your Mind Is Already Happening

… and incidentally this is why the artificial, non original description of the artificial character of the memory, the keeper of the gate. godsend.

This says, God sent it, , that is the meaning and the purpose of why we are here as existent , to witness what’s in His mind, as he set up the architecture which need not appear repetitious even to the humblest mind.

As we are condemned to forget over and over again of who are we to not realize we can’t take it with us, to all the innumerable other journeys, over again, in all places, elsewhere and here, horizons melting, and

Into each other, don’t look back says Dylon and a host of other angels, defending nude from the stairways of heaven ? One step for mankind, astromedia. So forgetting everything, weary of not remembering any of it, while the preponderance of evidence, so very evenly split between pro and con, between the ones forging ahead against all odds, and the ones unwilling , or unable.

So who gives a …? Right, or left?

Is it the mystique of feminine guile, the left and the leftists, or the rightists insisting they were created first to create that very armor by the use of which the afterthought’s tempting promotion of the apple needing gentle nurturing while the ideas with their belligerent ideals withdraw with shrinking reticence,

Who wins or looses, is a trickster’s anti-derivative say you, say me? It’s that an intelligent clue of designed necessity, but it’s different say you?

No, in his realm the same that is how could be? To throw everything away, like all proofs thrown away as that rubicon is thrown away beyond the Styx. As that of all visiting Delphi to seek out what to do and follow a prescribed course, into the nothingness of eternity, an unwritten void, felt only slightly in the spring breezes, where there is neither?

You’re will be the guide which way progress or regress,accede or demand, evolve with equally commensurate steps knowing in a second it all can dissolve into the sweet embrace of her slightest whim.

The war for your mind is already, happened since the beginning with no end, and the futile question remains , which part of the imparted will, in parted the strenght to forward that message through the ladder( oh so daunting) be scaled.

[meno41 (William gundry)]

Channeling Neumann-Feynman this is a fragment of what I want to write.

In Feinman’s proposal, earthshaking as it appeared to him, later disproved in part, Einstein and Olin? And others were there. After the proposal was presented mathematically, Olin had objections and he asked Einstein for his opinion.( no mind you, I had never heard of this on the internet or on any other prior occasion. Be as it may, the concern of Einstein over Olin’s objection was that Olin primarily brought up the critical facts against Feinman, for theoretical reasons, but needed a stamped authority to back him up.

Olin’s reliance on the uncertainty, not that built on Heisenberg’s but namely a doubly edged uncertainty about tthe all encompassing field going back to its very sources of derivation.

So Einstein said something which I’ll have to re search and fill in later.

So. I’m trying to recall this incident in feinman’s life that was overwhelmingly the forte of his life and the subsequent research which consumed the rest of his life, but that was not behind what I wanted to write about primarily.

I needed to show why I may have found out about Van Neumann in the first place in those shadowy and confusing times past WW2, and how all this may have engendered my optically illusion need to look into the depths undeterred by the warning of something in those unfathomable depths staring back .

Now among those present, the peer groups opinion of Van Neumann’s intelligence being over and above all present there, who admittedly were the cream of the crop not only of the scientific community at that point, but widely admitted to be the greatest minds of that era. Von Neumann particularly was conceded to be the greatest mathematician of the twentieth century, exceeding those in the room.

There was an inexplicably pathos to all this nearing ironic self indulgence, that Van Neumann knew this all his life up until lying in his deathbed and continue ed to solve the problem of death up to his laying on his own deathbed , in Walter Reed Hospital, Washington DC, .

That such brain, an ultimate organizational genius, knowing he encompassed all the mathematical formulations ever considered, realized or must have the importance of his own brain, vis. The dawning significance of how important it was to the survival of ideas, a monumental work of colossal significance, and how it related to his many felt work in the architecture that could be put to use in other areas such as game theory, and the very elementary dynamic underlying their reactions to magnetism. Oh it was Ullam, I previously not remember. Just remembered,

So. His mind became a huge all included globes, quite outside the very objective he sought to commune with his peers. And so he did not comment, after Einstein’s uneducable retort, but his silence spoke volumes.

Needless to say, feymN’s recall of this incident marked the rest of his life, and got the noble prize for it, bu on his death bed, he was much more assured about where It,’ goes afterwards, and conceded I presume the problem of non being having the ultimate concern of all, following Aristotle’s, with whom a new community may have been formed by neo-platonists, quite certainly Wittgenstein nominally tried to describe this effort, not for self serving reasons , but beyond the scope of self preservation, to protect those yet unborn. He claimed that nobody starts out as a blank slate.

…

And if there IS a Faustian deal involved in this process, simply invert the scenario:

>>

Ah, I see—you’re taking it a step further. The trick isn’t just escaping the debt; it’s turning the collector into the debtor, infinitely.

Here’s how that works in Feynman’s hands:

The Knowledge-as-Power Loop

Faust typically trades his soul for finite knowledge or pleasure. But if Feynman bargains for the power to know—not a fixed set of facts, but the method of infinite inquiry—then every new thing he learns generates new insights, which in turn reveal new questions. That’s a divergent series.

The collector, being a being of contracts, thinks in terms of settled accounts. He expects a one-time transfer: soul for knowledge. But Feynman would argue: “You gave me the ability to know. By knowing, I now know you better—your rules, your loopholes, your nature. That new knowledge is itself a thing of value. And since you gave me the power to generate it, every bit of it is traceable back to your original gift. Therefore, you owe me for each new insight I produce using your own tool.”

The Infinite Taps

You mention “taps of instances”—I think you mean opportunities for the collector to be outwitted, each one generating a new debt. Yes. Imagine:

· Each time the collector tries to collect, Feynman says: “By appearing before me, you’ve just taught me something about demonic manifestation. That’s new knowledge. You now owe me one.”
· Each failed collection attempt adds a debt. The collector can never catch up because the act of collection itself produces more knowledge for Feynman.
· It’s a mathematical divergence: The collector’s debt grows faster than any finite collection schedule.

The Collector’s Dilemma

To collect the original soul, he must interact. But interaction gives Feynman data. Data gives Feynman power. Power gives Feynman leverage to demand payment from the collector. The collector’s only escape would be to never engage—but then he forfeits the original due.

So yes: Feynman doesn’t just delay. He inverts the polarity of the deal. The collector ends up owing an infinite series of “taps” (moments of being outwitted), each one a new instance where Feynman holds the marker.

The final trick? Feynman would write the collector a receipt: “Paid in full—for all debts past, present, and future—with interest compounded by the square of each new question.” Then he’d walk away, bongo drum under his arm, leaving the collector to calculate an infinite sum that never converges.

[meno41 (William gundry)]

Krakatoa east of Java

Soon. Be there

Sooner, better,

Write, must

To de-scribe

Magic lust wonder, lust

Mystery

Your

De force

Be

With you the tour

Must

Why

?

Not, who you

Michael arch

Angel

That’s who except it George not The lion hunter

The Saint mine

Guardian angel

On shoulder mine

But who you scarred to trace log

Scared to

Fly, scared to east of?

Java, but to Delphi fly angel- little bird, for this summer of discontent.

[meno41 (William gundry)]

художник который видел насквозь Валентин Серов

The download was in English, but inexplicably turned Russian here. Again , such things are paradoxical. And finally, I’ve heard u guys talking about it; and since I’ve been here, held to it: here I note; why now? I don’t really know:

-

What The Gnostic Jesus Actually Taught Is WAY More Dangerous Than You Think

[meno41 (William gundry)]

Gnosticism and existentialism?..

“The Famous Opening of Camus’ The Stranger” #Absurdism #Existentialism #Art #Poetry #Philosophy

Camus: 'The Stranger"

[meno41 (William gundry)]

I’m writing some lyric poem today, a spStic reminder. Or: something in aspic. I wanna get some drawing stuff and sealant, on some fine paper, my daughter got me before she was gone; and sit in some half shaded terraced place in the neighberhood, because I feel I have some thing to say. Some thing which makes mo go on.

I give from now, 9:20 am Wednesday may 20 , 2026, until I return home, and come up with something.

[meno41 (William gundry)]

Continue poem p.2

Architecture and archeology came to mind upon rising and plane to baseline that without punctuating it later once I get the art stuff, but thee clock is running and previously could slow it down only by ingesting medical at this point, no Billy I say to myself, my name is threefold, Billy, William , and Bella, maybe a dash of bill. Ingest that, and enhance it later once naturally, high on believing.

So from here on in, can only add by edit, if close, to, or even leaving it open ended so I can’t get into trouble that way. So it will be edited and saved at the very end. So this will be page 2, then followed by p3. as a presumed foresight required by modern standards.

)got the art stuff: found a place outside and ordered a green cold pressed tea it’s 10:54 am same day. I was overly ambitious. Turned out I had to lay the groundwork in watercolor pastel pencils before painting it spent 59$ the lady at michealsons was gracious , and gave me a discount.

Now back to basics: can’t get AI deep search involved because I’m down to voice command with him, can’t just write and paste no more, but I have some things on record that I can copy from and I’ll call him architecture. The discussion which may pre empt here is that archeology is somewhat in a black box , as is an analogous contrast in between Camus and Kierkegaard, both famously antithetical in their ways of marginally being miles apart with their views on morality and ethics, boiling down to presentation vs. representation of the absurd. No better way to clarify here, there are a lot of indelible impression over and above, deceptively and recursively hiding their abject irony.

Of course their ages of difference can imply a differance that is shared within the dilation of space achieved without the drastically curtailed time left.

Kierkegaard proceeds Camus by many years, and here as elsewhere, a pilot can not help me to steer out of safe harborrs as the only way to do so would incur a great restless bold leap into the great undertow, the labyrinth vastly exceeding that which can be seen as that above.

Now I will start to approach this drawing, so hopefully be back in half an hour ."

Back it’s 11:35 am same date

The terrace quick sketch oh how dissappoint this scene here but no : don’t defeat multiply like fluttering pages butterfly unto a wind undoing, in the interim: so I can’t go below it must stay above

Float in the zen pond of profound extension of the waves of content, enclosing that urge, nd can’t quite paraphrase the architect saying to archeologist what he dareth not, as all spread out in a terrain of inclusiveness.

The all in one, reduced into a box, a Chinese box. The pieces entangle then spread out like many seeds asunder as do firefly disperse in the night’s silken azure.

The pattern remarkably mirrored a duplicate, retaken over again, the semblance the keenest architect and why not?

The proof in the pudding here aspire to disburse, to flatten the holographic architect into muted of fireflies they unable to appreciate without the swarms which envelope them, their pro temp modeling of themselves as a singular mass.

Now I’ll do a hand. Brave soul u who plan galavant through the world, starting in Delphi, knowing the miracle there unfolding here.

/0 / now a hand so long ago a sketch- now go on with your whatever, it’s the architecture of existence bringing Camuse - came the Muse in direct conflict with the architecture that befalls, befalls simply by the contrast of cosmic intelligence with that in our own attempts to understand stand what’s what, with what. The difference in a shift of magnificent fire play shifts of change the person you and I as seen by way way over in the reaches corner of the unreachable, sky bound until the endless end.

Hey architect were going over seas, soon next month, in a time of sacral, where the shameful diasporic extension gets some relief by the election of Peter Magyar, a sweet play on names, the play which Shirley Ellis so sweetly played back in the sixties. Did you catch the deal’s redeeming feature? The little trick that Nick played, showing Cosmic concern? Or maybe it’s cosmetic? ( a guy him I seen before, came by my table here and as he returned the chair, that he borrowed, he glanced at the picture of my hand, and though about asking him to pose for me now regretting I didn’t,so that next time I’ll draw him, and out of his down’ness, but oh my regrets come last.

Nick the old guy was acquired by such a process, or aiming for redemption by a trick, a little Rick by nick, and regrets, well!? Not worth the effort now so many out there without a home. It’s almost shifty ,how all this can work out, that difference but as luck would have it the guy came back and we talked a while and I asked him if he would mind if I took his photo, and maybe next time draw him. — so there. Proving not everyone is irredeemable. So it’s 2:35 pm same day, and need a bread.

//

So no more art today but continue with this ms: Billy, no old grand dad tidy, or edibles, or no other excitable, can do it naturally flowing, in deference to others, and immediate family especially, for no picnic for them at present time either. Everybody in same boat , hear that architect? And as far as the transmigration of souls a truly believer he might say, too many instances too many ways of possible slip ups and occurrences beyond belief, at least singular reference , might say, hearts bleed, (Thos cut out is an instance Brysons take on the cut up method, so at some point need to reset, reintegrate the puzzle, for those certain of neuro plastic- hologrammic references.(but now stop, can leave channel open- for later consumption)

So cut to the Chase and tell you really what’s going on going overseas for the whole summer is quite a challenge especially with the rise and antisemitism all over the place and I gotta tell you what led me to going there especially my few chance of luck I found a ring that has some Chinese symbol on it and I searched the etymology and found that it’s a it’s a Chinese symbol a positive symbol for strength and also has has a relation ship to the ancient goddess Cuan one yen is supposed to. She’s not a Buddha but she is a hot Chito underneath and she’s very much valued in an ancient Chinese folklore and all these things happened during our plan to go to Greece and the last time we were there, we missed Delphi as not being significant, since it has seized to have the power of suppose magic coming from underneath the priests the priest was sitting in our chair below, which was a large labyrinth crevice from which animated mysterious gases, and exclaimed that these gases were kind of narcotic its effect on the pus and was able to overcome and overcame, and was overcome by these gases that were coming and later by archaeologists who have been post a question said that there was a volcano extinct volcano there, and that explains the emission of gases that caused this site to become so holy, the centerpiece of Greek civilization in terms of religious revelation, but justice as asideso with that in mind, the crisis in the Middle East, the Diaspora, and all those other facets of present tension is worth an examination in terms of the effects of such notions can have presently on human beings, so if the idea of the gas being effective in this manner, this is eliminated then we’re left with a Geo thermal explanation that may continue even after the processes the eruptions of the volcanic eruption could manifest in other ways, such as a geopolitical eruption, if it, if if if it were possible to suggest that the spatial temporal shift that occurs between the effect of the cosmic and the regional shift in the dynamic explanation as to how higher geophysical, explanations overlap, or should overlap or do overlap, those that were expanded before Newton’s ideas of and supersede supersede the traditional mode or model by log Eurythmics scale such a scale getting back to integrity was predicted very much so by the Meno paradox Fermino Maze question was that he didn’t know the answer to the questions he was asking to us where they were coming from and such he was able to solve the trigger metric for a that was grounded. His question you know he was way ahead of his time in terms of projecting a non-linear progression of communication within the scope of his own mentality and that he was the spokesman for Socrates, a platonic figure a real person who actually gave Plato some of his ideas by his behavior rather than anything else he thought from action rather than reaction. He was an original thinker, and Meno was a paradoxical figure who who actually was responsible as a caretaker of his slave who had this notion, and which brings the question the idea of slavery of slavery, can affect people to slavery of being enclosed within a certain social fabric and the effective effectiveness and effectiveness that plays on the slaves mind in terms of how to break away how to become free and this is where the somatic antisemitic problem works itself out where the Diaspora escape from Egypt becomes determined type of expression that creates a collective notion that creates heroes out of men who are able to lead them out of such you’ll be gotten use of other people there is modern slavery, nowadays, de facto slavery, and the one that jury masses understand by the same idea and such as colonialism Capital and other values come to play within the fabric of interpretation and commonly requested and analyze into a black box of faithful determination by higher powers that are taken for granted and I never questioned. Such ideas are in many ways, Miss Normas, because the idea of perpetuating Capital is one that has to do with the establishment of secure homes for families and become elite to the ages, and their domination are sometimes misunderstood. The masses are incapable of such divisive measures as the elites are able to endeavor, and and so they remain as powerless as before the latest can bring forth such forces that are deemed practical in perpetuating the idea of the home only the only the greatest ones and rationalize this kind of argument, so the material materialistic dialectical the inclined, then to translate everything into possessions and dismiss the idea that the neo Helias Vienes school positives can so well translate into the evolution of the spirit and the spirit is this. It’s nothing else but an evolution into the real reality that the cosmic, the broader sense of the family of mankind can conceive. At

now a break to resume my way out 'special’art maybe, and I dare not ask myself the question of what’s so special about it, so I will just do it. It is p1:-5 pm the same day, and I resist the temptation to save&edit, because in a big, urgent sense, I want to wire until reaching Delphi, and without violating rules in the philosophy forum. But that’s way ahead of what is intended, so let’s go one day, 1hour at a time.

So now abstract expression :/had to cut here: hours ago:

Now back: it’7:15. Pm may 20 th . Just writing things as they come along, now having dinner at McDonald’s. Fish filet sandwich with an order of fried, Shirley is planning our trip to Grerce and she is very involved with it. Just before she got here, Ieaycjinh documentary on George Gershwin,

Same day, Wednesday

Now switch reels: back in the old ILP days, it was noted that an individual capital holding of a trillion dollars will most pro"SpaceX confirms plans for an IPO that could make Elon Musk a trillionaire

May. 20, 2026, 4:48 PM EDT / Updated May. 20, 2026, 5:08 PM EDT

SpaceX confirmed plans to sell shares of its stock to the public for the first time, according to a securities filing Wednesday outlining the company’s fundamentals.

The initial public offering could make CEO Elon Musk the world’s first trillionaire, a milestone that underscores the extraordinary wealth the tech industry has amassed over three decades.

SpaceX’s IPO is expected to draw wide investor interest because of the company’s success in rockets and satellite-based internet — two areas where SpaceX has a wide lead over potential competitors. The IPO is expected to take place next month after a marketing period in which Musk can try to drum up further interest in the company’s stock.

It would likely be the biggest IPO ever, surpassing the debut of Saudi Aramco. In 2020, the Middle Eastern oil company raised $29.4 billion from investors in its IPO.

Wednesday’s filing does not specify how much the company aims to raise in the offering. However, the filing does show that the company reported a net loss of $4.3 billion for "

Excerpt From

“SpaceX confirms plans for an IPO that could make Elon Musk a trillionaire”

David Ingram, Steve Kopack

NBC News

SpaceX confirms plans for an IPO that could make Elon Musk a trillionaire —...

This material may be protected by copyright.bably index an extreme limit of sorts: so here it is-

It’sIts may 22, and I try to recollect the aforementioned.Where should I resume? It’s a cloudy day but not a typical for Southern California. It’s what they call a premature June gloom. That’s what they used to God and I guess it still stays the same fact all to talk about weather, change, climate change and all that change it’s here with us and I’m in line for a food giveaway. I come here every Friday and wait until they open at 9 o’clock. I come here by eight so I have to get up real early because if you don’t come here early enough if you don’t make it because they close it by 11 AM and is really nice sometimes I feel so undeserving but everything about me is has a dual aspect a hidden aspect and that can be explained to why the guilt of receiving things because we are not really homeless. We have a home. I have a retirement income, but never seems to be enough ever. I suppose it’s because I said some president and some models of behavior to my family that the immediately imitated as a quick way to get ahead and one thing I did not share in all the years we’ve been together Shirley and I that peace opposition can be very dangerous and very unfulfillable on the long run, a presumptions of of a former way of living experiencing life of taking for granted things that have taken years and years and maybe generations may be 200 years of hard labor, work, sweat and tears to achieve and the posterity looks upon as a given. They have absolutely no idea how to go about it if they were to have to do it by themselves unless somebody you can’t you can’t learn that in school so that is why my dad, my poor dad who I totally misunderstood behaved the way he did I forgot the name for that short term. I forget everything I try think something. Some idea some meaning that I try to express and then I have it and then I go back on another level and try to write it down and I can’t remember it. I just did it a minute ago and it has to do with my dad who admitted that he was a I come to that later. It happens all the time, but but when I came to this country in my mother, my poor mother who was supposed to be a saint and she probably Was the Big for Big love that she animated to anybody and everybody that she came across and she was she got lost in the tangle of meetings as I do and is unable to get back so that’s an effort always try to get back to the original thought I still have in mind my dad and what his self admission contained and his containment of it missed the mark of framing it and containing at the same time yet he never had that together either and that is a presumption right there you presume you can do it take shortcuts shortcuts no// ?

Anyway it’s evening again the flow is low, the handy man just looked at his hand as it was a foreign object. Who did say that? God, I’m glad to recall the very best of Sartre, but the title? It was his first novel, and forcing myself not to seek deeper advice, anyway, it’s a good thing to become neutral about such things, in a sense taking your self out of the deceiving picture, because it shows or can illuminate the fact that yes, we can rise above our bodies, the material substance which does have a ground out of which the plant grows.

The plant is a throwback of the lotus flower, its roots into the dirt, it draws its strength, it’s elan, and it’s force to seek the light that perpetually shines through it.

The object commands presence and its fragility overcomes its emerging , by objecting the submerged mass converging ; yet pressed to leave it to the fates.

[meno41 (William gundry)]

Just a side, barring attempted the stoppage of immediate flow:

<. "IDEAS
POPE LEO’S UNSETTLING VISION OF THE AI FUTURE
His new encyclical, Magnifica Humanitas, seeks to counterbalance alarm with hope but lands firmly on one side.
MAY 25, 2026, 8:16 AM ET
The Vatican, as one aphorism puts it, tends to “think in centuries.” But Pope Leo XIV seems intent on changing that, moving with remarkable speed to publish his first encyclical today, Magnifica Humanitas, “on safeguarding the human person in the time of artificial intelligence.” Leo has managed to produce a major teaching document on AI while college students are still booing commencement speeches about how the technology will change the world. Compare that with his 19th-century namesake, Pope Leo XIII, who didn’t publish an encyclical about the Industrial Revolution until more than a century after it started.
In Magnifica Humanitas (“Magnificent Humanity”), Leo seeks to counterbalance alarm with hope. He composes a long and vivid list of dangers posed by AI, but insists that the technology is a “gift that can alleviate suffering and open up new possibilities”—as long as it’s ordered by humane values rather than monopolistic interests. As for the specific advantages that AI might yield, however, Leo is largely silent. His expressions "

Excerpt From
“Pope Leo’s unsettling vision of the AI future”
Francis X. Rocca
The Atlantic >

Pope Leo’s Unsettling Vision of the AI Future — The Atlantic

This material may be protected by copyright.

[meno41 (William gundry)]

Cut, it out: waiting in line is no too bad, as a matter of fact it’s much to be desired since it eliminates being cognizant of the people ahead or behind ,

The grey area remains of having the option to resume; they say of the flow, of getting there, getting to the object, the abject desire to magically participate in the orgy of unending palatable; , and avoiding looks , the gaze of which can create uncertain reactions of sensible actions, SUPPOSING

For Ute eyes only, and that’s a misgiveable guess: almost drawing to the level of mortifying grace. Hey , hello, did you hear of the post human quickly drawn up encyclical by the NEW uSA POPE?

Cut cut , gut, Waiting:

(while in line for grub remember this searched: maybe rescue?

Must find English translation//////thoughts for this morning:///// couldn’t find English translation.

But this( these thoughts) who are we/ I? We appear and disappear cosmological/cosmetically, as if yearning for a transcendence that is happening right here/right now(Husserl/heidegger intuited it; our persona are masks worn so thick at first, thinning out frightfully toward the end, some say,

Toward a new beginning, although nothing in this/these world anything new at all:

But then why try to hold unto it for dear life, masking any change, and why did the church fathers eliminate all mention of gnosis?the late Saint Francis almost realized we were not ready for such a stark reminder: that existence IS Evil: science too: and the old gods/God punishes those aberrant ones who are literally dying to pet the snakes of oblivion: they’re terribly afraid to go there: to go to the place of reward/punishment-

But such place does deceiver,.existing now: heard, here and now on that other side, that is on the same page.

/ one last though for the day: Belief subordinates to Faith, for even Nichiren says that in more then one place: that belief is a regression to faith: as in the western world- existence to essence, to being enlightened. //// now switch within and without, which must never the less continue: /// now some poetry for a cold night in Los Angeles: Weldon Kees:

///// //

Weldon Kees Poems 1.A Musician’s Wife Between the visits to the shock ward
The doctors used to let you play
On the old upright Baldwin
Donated by a former patient
… Read Poem 2.Robinson The dog stops barking after Robinson has gone.
His act is over. The world is a gray world,
Not without violence, and he kicks under the grand piano,
The nightmare chase well under way.
… Read Poem 3.A Distance From The Sea To Ernest Brace

"And when the seven thunders had uttered their voices, I was
about to write: and I heard a voice from heaven saying unto
… Read Poem 4.1926 The porchlight coming on again,
Early November, the dead leaves
Raked in piles, the wicker swing
Creaking. Across the lots
… Read Poem 5.Covering Two Years This nothingness that feeds upon itself:
Pencils that turn to water in the hand,
Parts of a sentence, hanging in the air,
Thoughts breaking in the mind like glass,
… Read Poem 6.For My Daughter Looking into my daughter’s eyes I read
Beneath the innocence of morning flesh
Concealed, hintings of death she does not heed.
… Read Poem 7.The Beach Squat, unshaven, full of gas,
Joseph Samuels, former clerk
in four large cities, out of work,
waits in the darkened underpass.
… Read Poem 8.Dead March Under the bunker, where the reek of kerosene
Prepared the marriage rite, leader and whore,
Imperfect kindling even in this wind, burn on.
… Read Poem 9.The Bell From Europe The tower bell in the Tenth Street Church
Rang out nostalgia for the refugee
Who knew the source of bells by sound.
We liked it, but in ignorance.
… Read Poem 10.Aspects Of Robinson Robinson at cards at the Algonquin; a thin
Blue light comes down once more outside the blinds.
… Read Poem 11.The End Of The Library When the coal
Gave out, we began
Burning the books, one by one;
First the set
… Read Poem

//://:// Ok sitting in Starbucks, practically od’d on coffee, my heart nearly broken into two when she says ,“now that I’m old” , and thinking back now more than a half a century when we were young. Thinking of Erica Young’s splash, fear of flying , and now she is 84, and then thinking how Einstein thought of relative aging, relative to what or whom? The way we were, that’s how and looked at her , trying to be more objective, by pressing against that broken heart that’s not actually broken, and escaping a few seconds; and that vision of Cody-esq look upon an aging woman , so sweetly desperately trying to be substantial, though sensing an uncommon transparency, that would avail no one if we had split before, way before many trying times. That center can not be removed to either end, both complex within their logic, one deeply masked by eons of jarmically layers inaccessibility, the other confirming a cosmic disillusion, time after time..

Her fragility held in reserve for future’s time, regardless, the temperate quest to the question posed to the Oracle: 'in what form would you care to reappear, how old, , and within context preferring beauty to the illuminated beast near but not quite in the absolute eternity of indelible exact description of equal unwarranted choice of mythic and real proportions, that reserved to a dual apparatus that separates and mixes both in apparent simultaneity.

Still, Starbucks pied in doobie bros, ll’listen to the music, and then thought this as closer,

/// now this: in a stream of education per 'The Self Thought Man:

///

Edie Sedgwick:

///

e Sedgwick
Article Talk
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Edith Minturn Sedgwick Post (April 20, 1943 – November 16, 1971) was an American actress, model, and socialite. Best known as a Warhol superstar, she gained widespread recognition as a style icon; in 1965, Vogue magazine named her a “Youthquaker,” recognizing her influence on youth culture.[1]

Edie Sedgwick

Sedgwick (center), with Pat Hartley, filming Ciao! Manhattan in 1967
Born
Edith Minturn Sedgwick
April 20, 1943
Santa Barbara, California, U.S.
Died
November 16, 1971 (aged 28)
Santa Barbara, California, U.S.
Resting place
Oak Hill Cemetery
Other name
Edith Sedgwick Post
Education
Radcliffe College
Occupations
Actressmodelsocialite
Years active
1965–1971
Relatives
Sedgwick family (paternal)
Henry deForest (maternal grandfather)
Endicott Peabody (maternal great-grandfather)
Signature

Sedgwick starred in several of Andy Warhol’s Underground films, including Poor Little Rich Girl (1965) and Beauty No. 2 (1965). After leaving Warhol’s Factory scene in 1966, she pursued acting and modeling independently but never regained the same level of prominence. Her mental health deteriorated from drug abuse, and she struggled to complete the semi-autobiographical film Ciao! Manhattan (1972). Sedgwick died of an overdose in 1971 at the age of 28.

Early life and education (1943–1964)
edit
Edie Sedgwick was born in Santa Barbara, California, the seventh of eight children of Alice Delano de Forest (1908–1988) and Francis Minturn Sedgwick (1904–1967), a rancher, sculptor[2] and member of the historical Sedgwick family of Massachusetts. Sedgwick’s mother was the daughter of Henry Wheeler de Forest, the president and chairman of the board of the Southern Pacific Railroad.[3] Her maternal great-grandfather, Reverend Endicott Peabody, founded the Groton School in Groton, Massachusetts.[4][5] She was named after her father’s aunt, Edith Minturn Stokes, who was painted with her husband, Isaac Newton Phelps Stokes, by John Singer Sargent.[6] She was of English and French Huguenot ancestry.

Despite the family’s wealth and high social status, Sedgwick’s early life was troubled.[7] Initially homeschooled and cared for by nannies, Sedgwick and her siblings were rigidly controlled by their parents. Being raised on their father’s California ranches, they were largely isolated from the outside world and were instilled with the idea that they were superior to most of their peers. It was within these familial and social conditions that Sedgwick, by her early teens, developed an eating disorder, settling into an early pattern of binging and purging.[8] At age 13, her grandfather Henry Dwight Sedgwick died, and she began boarding at the Branson School near San Francisco.[9] According to her older sister Alice “Saucie” Sedgwick, she was soon taken out of school because she had anorexia.[10] Her father severely restricted her freedom when she returned home.

All the Sedgwick children had conflicted relationships with their father whom they called “Fuzzy.”[11] By most accounts, he was narcissistic, emotionally remote, controlling, and frequently abusive. He also openly carried on extramarital affairs with other women. On one occasion, Sedgwick walked in on her father while he was having sex with one of his mistresses. She reacted with great surprise, but he claimed that she had imagined it, slapped her, and called a doctor to administer tranquilizers to her.[12] As an adult, Sedgwick told people that he had attempted to molest her several times, beginning when she was aged 7.[7]

In 1958, Sedgwick’s parents enrolled her at St. Timothy’s School in Maryland. She was eventually taken out of the school due to her continuing eating disorder.[13] In the autumn of 1962, at her father’s insistence, Sedgwick was committed to the private Silver Hill Hospital in New Canaan, Connecticut. As the regime was very lax, she easily manipulated her situation at Silver Hill and her weight kept dropping. She was later sent to Bloomingdale, the behavioral health wing in the Westchester County division of New York Hospital, where her anorexia improved markedly. Around the time she left the hospital, she had a brief relationship with a Harvard student, became pregnant and procured an abortion, citing her present psychological issues.[14]

In the autumn of 1963, Sedgwick moved to Cambridge, Massachusetts, and began studying sculpture with her cousin, artist Lily Saarinen.[15][16][17] According to Saarinen, Sedgwick “was very insecure about men, though all the men loved her”.[18][19] During this period, she partied with members of an elite bohemian fringe of the Harvard social scene.

Sedgwick was deeply affected by the loss of her older brothers, Francis Jr. (known as “Minty”) and Robert (known as “Bobby”), who died within eighteen months of each other. Francis, who had a particularly unhappy relationship with their father, suffered several mental breakdowns, eventually committing suicide in 1964 while at Silver Hill Hospital.[20] Robert, her second oldest brother, also suffered from mental health problems and died after falling into a coma when his motorcycle crashed into the side of a New York City bus on New Year’s Eve 1965.[21]

On her twenty-first birthday in April 1964, Sedgwick received an $80,000 trust fund from her maternal grandmother. In September 1964, she relocated to New York to pursue a career in modeling. In December 1964, she was injured in an automobile accident.[9]

The Factory (1965–1966)
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Film career
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In March 1965, Edie Sedgwick met artist and filmmaker Andy Warhol at a party hosted by producer Lester Persky and soon became a regular presence at Warhol’s Midtown Manhattan studio, The Factory.[22][23]

During one visit, Warhol was filming Horse (1965), in which Sedgwick makes an appearance marking the beginning of her on-screen collaboration with him. Soon after, she made a brief cameo in Vinyl (1965), Warhol’s adaptation of Anthony Burgess’s A Clockwork Orange.[24] Although the film featured an all-male cast, Warhol inserted Sedgwick into the project.[23] Though her appearances in both films were limited, they attracted considerable attention and prompted Warhol to cast her as the central figure in his subsequent work. He dubbed Sedgwick his “Superstar,” and their frequent public appearances helped popularize the term.[9][25] Sedgwick herself explained the concept on The Merv Griffin Show, reflecting its novelty to mainstream audiences at the time.[26]

Sedgwick’s first starring role was in Poor Little Rich Girl (1965), originally intended as part of a planned series known as The Poor Little Rich Girl Saga, which also included Restaurant, Face, and Afternoon. Filmed largely in Sedgwick’s apartment, the film portrayed her daily routines in a casual, observational style. She next appeared in Kitchen, filmed in May 1965 and released the following year, written by Factory regular Ronald Tavel and featuring several members of Warhol’s circle. After Kitchen, Chuck Wein replaced Tavel as writer and assistant director on Beauty No. 2 (1965), filmed in June and premiered in July; the film depicts Sedgwick reclining on a bed in her underwear with Gino Piserchio as she is being taunted by Wein off-camera.[23] Throughout 1965, Sedgwick continued working with Warhol on films including Outer and Inner Space, Prison, and Lupe.[27]

By late 1965, however, her relationship with Warhol had begun to deteriorate as Sedgwick gravitated towards the Bob Dylan crowd, and she left the Factory scene in early 1966. In May 1966, Warhol told the Los Angeles Times: “Edie was the best, the greatest. She never understood what I was doing to her. I don’t know what’s going to happen to her now.”[28] After being dismissed from Dylan’s circle and surviving a fire in her apartment in October 1966, Sedgwick returned to the Factory seeking work.[29][30] Warhol cast her in one final project, The Andy Warhol Story, in which René Ricard satirically portrayed Warhol. Filmed in November 1966, the film was never released and was screened only once at the Factory.[30]

Modeling career
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Warhol’s films were for the most part shown only in underground film theaters and in viewings held at The Factory, and were not commercially successful. Despite this, Sedgwick attracted growing mainstream media attention for both her film appearances and her personal style.[31][5] Her look—black leotards and tights, miniskirts, chandelier earrings, and heavy eye makeup—made her a fashion icon of the 1960s.[32] She popularized the miniskirt by wearing altered children’s skirts and cropped her naturally brown hair short, often spraying it silver to mirror Warhol’s own silvery appearance.[33]

In an August 1965 Vogue photoshoot, Edie Sedgwick was photographed by Enzo Sellerio wearing only hosiery and a black ballet leotard, balancing atop a leather rhinoceros.[1] Vogue anointed her an “It Girl” and a “Youthquaker.”[1][34] Sedgwick’s mother disapproved of her modeling career and hoped she would return to sculpting and painting, which she had pursued before becoming a model.[35] She also dismissed reports of Sedgwick’s lavish fur collection as “utter nonsense”, despite a New York Times account claiming she owned multiple mink coats and exotic furs.[35][9] Later that year, Fred Eberstadt photographed Sedgwick for Life magazine’s November 1965 pictorial, “The Girl with the Black Tights.”[5] Her cultural impact was underscored when artist Roy Lichtenstein and his wife dressed as Warhol and Sedgwick for a 1965 Halloween party.[30] In 1966, Women’s Wear Daily named Sedgwick one of New York’s “fashion revolutionaries”.[36]

Later years (1966–1971)
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When Sedgwick returned to California for the Christmas holidays in 1966, her parents put her in a psychiatric ward.[37]

Sedgwick attempted to forge a legitimate acting career. She auditioned for Norman Mailer when his 1967 stage adaptation of his novel The Deer Park was being produced. But Mailer “turned her down … She was very good in a sort of tortured and wholly sensitive way …She used so much of herself with every line that we knew she’d be immolated after three performances.”[38]

In March 1967, Sedgwick began the shooting of Ciao! Manhattan, a semi-autobiographical underground film co-directed by John Palmer and David Weisman. Due to her rapidly deteriorating health from drug use, the film was suspended. After further hospitalizations for drug abuse and mental issues in 1968 and 1969,[39] Sedgwick returned to her family’s ranch in California to recuperate. In August 1969, she was hospitalized again in the psychiatric ward of the Santa Barbara Cottage Hospital after being arrested for drug offenses by local police. While in the hospital, Sedgwick met another patient, Michael Post, whom she married in July 1971.[40]

Sedgwick was hospitalized again in the summer of 1970 but was let out under the supervision of a psychiatrist, two nurses and the live-in care of filmmaker John Palmer and his wife Janet. Determined to finish Ciao! Manhattan and have her story told, Sedgwick reconnected with the film crew and began shooting in Arcadia and Santa Barbara in late 1970. She also recorded audio tapes reflecting on her life story, accounts Weisman and Palmer incorporated into the film’s dramatic arc. Filming completed in early 1971, and the film was released in February 1972.

Death
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On the night of November 15, 1971, Sedgwick went to a fashion show at the Santa Barbara Museum that included a segment filmed for the television show An American Family.[41] After the show, she attended a party where she drank alcohol. She then phoned her husband to pick her up. On the way home, Sedgwick expressed thoughts of uncertainty about their marriage.[42] Before they both fell asleep, Post gave Sedgwick medication that had been prescribed for her. According to Post, Sedgwick started to fall asleep very quickly and her breathing was “bad – it sounded like there was a big hole in her lungs” but he attributed it to her heavy smoking habit and went to sleep.[43]

When Post awoke the following morning at 7:30 am, he found Sedgwick dead. The coroner ruled her death as “undetermined/ accident/suicide”. Her death certificate states the immediate cause was “probable acute barbiturate intoxication” due to ethanol intoxication. Sedgwick’s alcohol level was registered at 0.17% and her barbiturate level was 0.48 mg%.[44]

Sedgwick was not buried in her family’s Sedgwick Pie cemetery plot but in the small Oak Hill Cemetery in Ballard, California.[45]

Personal life
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In 1965, Sedgwick began living at the Chelsea Hotel, where she became close to Bob Dylan. Dylan and his friends eventually convinced Sedgwick to sign up with Albert Grossman, Dylan’s manager. According to Paul Morrissey, Sedgwick had developed a crush on Dylan that she thought he reciprocated. She was also under the impression that she and Dylan would star in a mainstream film together. Unbeknownst to Sedgwick, however, Dylan had secretly married his girlfriend Sara Lownds in November 1965. Morrissey claimed that Sedgwick was informed of the marriage by Warhol, who reportedly heard about it through his lawyer.[46] Morrissey added that Dylan likely never had plans to star in a film with Sedgwick and “hadn’t been very truthful.”[46]

Dylan has routinely denied that he had a romantic relationship with Sedgwick but did acknowledge knowing her. In 1985, he told Spin:

“I never had that much to do with Edie Sedgwick. I’ve seen where I have had, and read that I have had, but I don’t remember Edie that well. I remember she was around, but I know other people who, as far as I know, might have been involved with Edie. … I did know her, but I don’t recall any type of relationship. If I did have one, I think I’d remember.”[47]
In December 2006, several weeks before the release of the controversial film Factory Girl, the Weinstein Company and the film’s producers interviewed Sedgwick’s older brother, Jonathan, who claimed that Sedgwick told him she had aborted a baby she claimed was Dylan’s shortly after she was injured in a motorcycle accident.[48] As a result of the accident, doctors consigned her to a mental hospital, where she was treated for drug addiction. No records from a hospital or the Sedgwick family exist to support this story. Nonetheless, Jonathan claimed, “Staff found she was pregnant but, fearing the baby had been damaged by her drug use and anorexia, forced her to have the abortion.”[49][50]

In 1966, Sedgwick became involved with Dylan’s friend, folk singer Bob Neuwirth. During this time, she became increasingly dependent on barbiturates. In early 1967, unable to cope with Sedgwick’s drug abuse and erratic behavior, Neuwirth broke off their relationship.[37]

Sedgwick met Michael Post at a hospital in Santa Barbara. Post was also attempting to quit drugs. After their wedding on July 24, 1971, Post claims he helped her achieve sobriety.[51] However, in October 1971, Sedgwick relapsed after taking prescription pain medication given to her for a physical illness, which in turn led to abusing barbiturates and alcohol.[citation needed]

In pop culture
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Books
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In 1982, Edie Sedgwick: An American Biography written by Jean Stein was published by Alfred A Knopf.[51]

In 2022, Sedgwick’s sister Alice Sedgwick Wohl released the book As It Turns Out: Thinking About Edie and Andy.[52]

Film and theater
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Sedgwick’s life has been the subject of numerous unproduced projects and later portrayals in film and theater. In the 1980s, Warren Beatty acquired the rights to her life story and explored a film adaptation starring Molly Ringwald, but the project was never realized.[53] Sedgwick has since appeared as a character or inspiration in several works. Jennifer Rubin portrayed her in Oliver Stone’s The Doors (1991),[54] while Amanda Peet’s character in Igby Goes Down (2002) is described as an Edie Sedgwick-like.[55] The 2004 off-Broadway play Andy & Edie produced by Peter Braunstein dramatized her relationship with Warhol.[56]

In George Hickenlooper’s film Factory Girl (2006), a fictionalized account of her life, Sedgwick was played by Sienna Miller alongside Guy Pearce as Warhol.[57] Michael Post, Sedgwick’s widower, appears as a taxi driver in one of the last scenes of the film.[58] Michelle Williams portrayed a Sedgwick-inspired character in I’m Not There (2007).[59]

Later tributes include the short film Edie: Girl on Fire (2010) by Melissa Painter and David Weisman, and the animated short Too Late (2021) by Polish artist Kinga Syrek, released to mark the 50th anniversary of her death.[37][32][60]

Music
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Sedgwick has been widely cited as an influence and subject in popular music across multiple decades. Critics have long speculated that Bob Dylan drew inspiration from Sedgwick in several songs, most notably his 1965 single “Like a Rolling Stone,” as well as “Just Like a Woman,” and “Leopard-Skin Pill-Box Hat” from his 1966 album Blonde on Blonde.[61][62] Although Dylan never publicly confirmed these associations, the speculation has persisted due to Sedgwick’s close proximity to Dylan during this period and the thematic parallels noted by commentators.

The Velvet Underground’s “Femme Fatale,” from the album The Velvet Underground & Nico (1967), was explicitly written about Sedgwick at Warhol’s request.[63] Throughout the 1980s and 1990s, Sedgwick’s image and legacy continued to resonate in alternative and rock music. She appears on the cover of Dramarama’s 1985 debut album Cinéma Vérité, while the band’s video for “Anything, Anything (I’ll Give You)” incorporates footage from Ciao! Manhattan. That same year, The Dream Academy released the single “The Love Parade” with the B-side “Girl in a Million (For Edie Sedgwick).” Sedgwick was referenced or memorialized in songs by Primal Scream (“Velocity Girl,” 1986),[64] Edie Brickell & New Bohemians (“Little Miss S.,” 1988),[65] James Ray and The Performance (“Edie Sedgwick,” 1989),[66] The Cult (“Edie (Ciao Baby),” 1989), and Deadbolt’s “Edie” (1992).

Sedgwick’s influence extended into the 21st century with additional tributes that include Tal Cohen-Shalev’s “Factory Girl (Song for Edie Sedgwick)” (2009).[67] Alizée’s album Une enfant du siècle (2010) was inspired by her life,[68] and Dean & Britta’s 13 Most Beautiful: Songs for Andy Warhol’s Screen Tests (2010) includes a song written to accompany Warhol’s screen test of Sedgwick.[69] The Pretty Reckless’ “Factory Girl” (2010) is also based on her, with lead singer Taylor Momsen citing Sedgwick’s style and boundary-pushing persona as an inspiration.[70] Visual references to Sedgwick appear in Lady Gaga’s music videos for “Applause” and “Marry the Night,”[71] while G-Eazy’s 2014 song “Downtown Love” draws on her life story.[72] More recently, Beach House cited Sedgwick’s iconography as an influence on their 2018 album 7, particularly the track “Girl of the Year.”[73][74]

Filmography
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Film
Year Title Role Notes
1965 Horse Non-speaking role; first appearance in a Warhol film
1965 Vinyl Non-speaking role
1965 Beauty No. 2
1965 Space
1965 Restaurant Short
1965 Prison[75] alternative title: Girls in Prison
1965 Kitchen
1965 Afternoon
1965 Outer and Inner Space Short
1965 Bitch
1965 Screen Test No. 1 Herself
1965 Screen Test No. 2 Herself
1965 Poor Little Rich Girl Poor Little Rich Girl Credited as Mazda Isphahan
1965 Factory Diaries
1966 Lupe Lupe Vélez
1966 Face
1966 The Andy Warhol Story final film with Warhol
1967 Four Stars**** alternative title: The Four Star Movie; uses footage of Sedgwick from previous Warhol films
1969 Walden Herself alternative title: Diaries, Notes and Sketches
1972 Ciao! Manhattan Susan Superstar posthumously released
References
Bibliography

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Got into Las Vegas at 12:00 am Friday night ;

Why Self-Taught Men Rule The World

Charles Baudelaire (Part 1): The Poet's Life

The Fool On The Hill (Remastered 2009)

The Doobie Brothers - What A Fool Believes (Official Music Video) [HD]

Rudyard Kipling: A Secret Life

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Гений без компаса в голове — Мопассан

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[meno41 (William gundry)]

It’s Saturday the thirtieth of May. How time has flown ever swiftly. Have plans. Today it’s a splendid day, the sun is shining bright, and try to configure the past here in Las Vegas, as with mom drove down from Minneapolis, fractured as hell. Now after a half a century, everything is changed , but me the same only afraid to look into the mirror, because the outside has changed by as Dorian Grey the inside intact but locked away into the closet, keys deliberately misplaced, the cake melting in the park, and will never find the recipe again. McArthur Park, a slice of forgattence, melting in the rain, a piece of cake,