Vampire

Ok self esteem?
Narcissism, complexity, languages, s(t)imulation, talk,
Darkness, and political uncertainty, straight talk, masochism,
Vampiric flagellation, waiting for the dark, been there done that, you would be surprised how complexity can not simply translate, stick to it never let go , and don’t mess with leeches, they bargain to deceive, and yet:

You know in constrained environments anything goes, they treat you respectfully since they don’t know or seem to care what you have, buffer zones, hiding in fields of cotton, be a gentleman, and beware of profalgates, & exhibitionist, in the certain field of travesty you’ll feel better,

So and so, stay home but don’t get stuck on the luminosity of televisions over right alternative, play the game,

And by all means stop when the chips are down, have a few left, a few shots and you’re back in the zone, I never left them oh no
to leave them desert them
As few shots later
Will miss you,
and of course don’t leave them hanging like to really leave, as if it was small just a gig,
course let them think, yours quitting time, as bereft of certain defeat
another then,
bites the dust.

Be mindful of perhaps mechanical failures along the way - it is an old model left to rust
not to impress.

youtu.be/P71JqKt1j-0

youtu.be/Jqi4GBxmwgg

youtu.be/AqVVksnAk4M

youtu.be/y5Z7LHB1foE

Worse

Whilst out last week,
my nephew attempted,
to rouse me out of my indifference,
only to realise,
that my indifference is my normal,
and to attempt for me to be otherwise,
becomes detrimental to mine self,
and now he knows to leave me be,
or make me worse…

I hate to agree with You, but it’s so true!

Indifference hurts more than the sting that is self infused by it, for it really much more effective a weapon than trying to argue and setting records straight.
It does have a castrating effect on the attempted fuel that keeps the fire of loathing and anger burning.
In many a case, after a while it neutralizes negative feelings and even dampens the affects that intended hurt can impose.
Sometimes that is the only solution.

He just wanted me to perk up… I just don’t do the whole ‘exuberant’ thing often… intensity, yes: exuberance, not often… I ain’t got time for that.

Why take another’s indifference personally? Not like he’s any different… which he’s not, but he is a hoot to be around.

Of course he may not realize it…that is the partial truth, before even considering it.

But I wonder, is it not inconsiderate to feign , or even be indifferent to that , wherein when he comes around may turn the hoot into some other technical muse?

And does that tend to devolve indifference to difference? Leading to more apathy and deconstruction of more ideal relationships ?

More questions then avaibility of answers.

The early depictions of vampires were as ugly, hook-nosed, blood-suckers. Parasites of humans.
recently they’ve been upgraded and made sexy, attractive, romantic.

Guess why?

Either… for Box-Office profit, or, that the Vampires would have started suing anyone that portrayed them in an unattractive light? I’m going with the former, myself, but I always like to offer options to others.

The earlier cinematic vampire depictions were indeed horror films, the current cinematic/TV vampire depictions are more Romance, Thriller, or Drama. Sex sells… the advertising from the 80s onwards is reflective of that, when the overt really started taking off.

Vlad the Impaler: the original Count Dracula and inspiration for Bram Stoker’s Dracula… OMG! go to 6.40 onwards… what a ruthless fucker… the good-old days of real torture and crusades.

[youtube]https://www.youtube.com/watch?v=2YhD3mpDIZQ[/youtube]

I say… take me as I am on that, or any-other given day, or fear pissing me off… a one-off faux pas is fine… as I’ll recover, but once alerted to the fact of another’s (strict(er)) boundaries, then remember that… or I’ll help you remember.

When it comes to the day-to-day preservation of such-a-self, no-one’s going to give a shit about it but you, and no-one can see or even begin to fathom the great-effort that goes into it… but you, or the repercussions suffered, from not doing so. It becomes an art-form, you know… fine-tuning one’s craft and skill, until perfect, and then making it an eternal work-in-progress.

This series of adverts, is currently my favourite… the actor, brilliantly portraying Vladimir the Vampire.

[youtube]https://www.youtube.com/watch?v=C92jBt8tlag[/youtube]

Fear of the dark? Lack of sensory integration ? Return to the cave?

But then…that goes for both: the gentile and the Jew.

From the formless , there is no exit, and their commonality can not be mutually identified by recognition, hence the gap of sensory continuum

Victimization is an aesthetic premise stamped upon the Jew by a game akin to bait and switch, which most cons need to become wise to, if they can play the game.

The order of characterization between the good and the bad was not anticipated or planned , in thinly veiled metaphors, and hence resulted in the ugly de-differentiated basic and simple forms of averice.

The synthesis of such dramatic thrusts to vanity, had it’s clear motive expunged by the underlying one if basic substrate; approbation caused by wanton need to nationalize private property, to switch ideological uncertainty from the spirit to it’s constituenr.
It always was a subliminal game of hide and go between so called races, where races and cultural artifacts could be colluded.

The vampire, if he had been able to see himself in this manner, would not have fell for it, but would have rejected it , the whole nine yards, in an obvious game that lacking wisdom.

It is at a level brought upon it’s self, and ill understood, it can only see it’s self in shared blindness of each other.

It does not depict the particular vampire, only reflects , through a glass, darkly, a manifest projection of it’s own lack of sight, hence sustaining the vampirism it seeks to enlighten.

It is not trickery, but a needed bravery needed that denotes the real dynamic.
that is easy to recognize ; as hiding under.the Caricatures. which hinder suppressed emotions resolvinv sensory disjunction.

Oh this waiting game, 3 days to Christmas, let us not forget who caused this, and what it represents!

Even if, one day, the Christ appears as negative to His own image! It would serve a preestablushed transcendental contract between everyone, father and sons connected by fiat. It would disserve only those , who revel in uniform suppression of the innocent , colluded with the unformed.

Vampire prefer the shadows…despise the sunlight.
They are eternal…meme.
They are parasitical in relation to humans.
They suck the host dry…

I’ve posted an entire thesis on the symbolism of Vampires, Werewolves, Frankenstein, and the entire modern canon of superheroes and supervillains.
Each one symbolizing a post-modern psychological type.

Vampires don’t prefer it, literally their genetic lack of ocular understanding have been denied, they have to enhance other firms of relating to life, and their image can not be thus literally understood. Others see them as pre reflective, but reflection literally can not be mythically be in line with Narcissus, therefore, Nietzche could not have been intentionally devised, only through the eyes of Heidegger.

Therefore the whole program falls flat, and becomes inconsequential in it’s essence.

Well, we have obviously not been reading each other, or misreading. That is why the sense and the sensibility sustains a difference.

At any rate, happy holidays.

The sunlight clarifies - the twilight obscures and mystifies.

Nietzsche is devised through the eyes of every reader…like any artist is.
The clarity comes from comparing the idea with the world it emerged from.

The mystification appeals to the masses who have minimal ability to reflect. They relate to it superficially.

My replies are always directed to multiple readers.

Happy Holidays.

Agean wrote,

“The sunlight clarifies - the twilight obscures and mystifies.”

Does not N predict the future?
Does not the twilight replicate 18th century art, impressionist?

The cave was dark in the Middle Ages, when first exposed to the Enlightenement, man was overwhelmed by light, reality became elusive.
Icarus fell cause he was too close.
Impressions became the mode of apprehension, to overcome the vagaries of denying one of the principles of an aesthetic: appreciable distance, objectivity.

The twilight afforded objectivity, the reconstruction of it, the quasi union of the real and the ideal.

What’s wrong with that. N spoke in aphorisms, that light be converse, refocused on it’s object.

Some did not appreciate such vision, they needed return, return to the original.

Now, the central point in trying to understand is the signification of the simulated return.

I will proceed with incorporation of below comments- obscureatism as in nude, the obscure.

Here is a thematic summary:

"The novel tells the story of Jude Fawley, who lives in a village in southern England (part of Hardy’s fictional county of Wessex), who yearns to be a scholar at “Christminster”, a city modelled on Oxford. As a youth, Jude teaches himself Classical Greek and Latin in his spare time, while working first in his great-aunt’s bakery, with the hope of entering university. But before he can try to do this the naïve Jude is seduced by Arabella Donn, a rather coarse, morally lax and superficial local girl who traps him into marriage by pretending to be pregnant. The marriage is a failure, and Arabella leaves Jude and later emigrates to Australia, where she enters into a bigamous marriage. By this time, Jude has abandoned his classical studies.

After Arabella leaves him, Jude moves to Christminster and supports himself as a mason while studying alone, hoping to be able to enter the university later. There, he meets and falls in love with his free-spirited cousin, Sue Bridehead. But, shortly after this, Jude introduces Sue to his former schoolteacher, Mr. Phillotson, whom she eventually is persuaded to marry, despite the fact that he is some twenty years her senior. However, she soon regrets this, because in addition to being in love with Jude, she is horrified by the notion of sex with her husband. Sue soon asks Phillotson for permission to leave him for Jude, which he grants, once he realizes how unwilling she is to fulfill what he believes are her marital duties to him. Because of this scandal — the fact Phillotson willingly allows his wife to leave for another man — Phillotson has to give up his career as a schoolmaster.

Sue and Jude spend some time living together without any sexual relationship. This is because of Sue’s dislike both of sex and the institution of marriage. Soon after, Arabella reappears having fled her Australian husband, who managed a hotel in Sydney, and this complicates matters. Arabella and Jude divorce and she legally marries her bigamous husband, and Sue also is divorced. However, following this, Arabella reveals that she had a child of Jude’s, eight months after they separated, and subsequently sends this child to his father. He is named Jude and nicknamed “Little Father Time” because of his intense seriousness and lack of humour.

Jude eventually convinces Sue to sleep with him and, over the years, they have two children together and expect a third. But Jude and Sue are socially ostracised for living together unmarried, especially after the children are born. Jude’s employers dismiss him because of the illicit relationship, and the family is forced into a nomadic lifestyle, moving from town to town across Wessex seeking employment and housing before eventually returning to Christminster. Their socially troubled boy, “Little Father Time”, comes to believe that he and his half-siblings are the source of the family’s woes. The morning after their arrival in Christminster, he murders Sue’s two children and kills himself by hanging. He leaves behind a note that simply reads, “Done because we are too menny.”[1][2] Shortly thereafter, Sue has a miscarriage.

Photochrom of the High Street, Oxford, 1890–1900
Beside herself with grief and blaming herself for “Little Father Time”'s actions, Sue turns to the church that she has rebelled against and comes to believe that the children’s deaths were divine retribution for her relationship with Jude. Although horrified at the thought of resuming her marriage with Phillotson, she becomes convinced that, for religious reasons, she should never have left him. Arabella discovers Sue’s feelings and informs Phillotson, who soon proposes they remarry. This results in Sue leaving Jude once again for Phillotson, and she punishes herself by allowing herself sex with her husband. Jude is devastated and remarries Arabella after she plies him with alcohol to once again trick him into marriage.

After one final, desperate visit to Sue in freezing weather, Jude becomes seriously ill and dies within the year in Christminster, thwarted in his ambition to achieve fame in his studies as well as in his love. It is revealed that Sue has grown “staid and worn” with Phillotson. Arabella fails to mourn Jude’s passing, instead setting the stage to ensnare her next suitor.

The events of Jude the Obscure occur over a 19-year period, but no dates are specifically given in the novel.[note 1] Aged 11 at the beginning of the novel, by the time of his death Jude seems much older than his thirty years – for he has experienced so much disappointment and grief in his total life experience. It would seem that his burdens exceeded his sheer ability to survive, much less to triumph."

This only to organize and synthesize my ongoing search into signification and an attempt to sensory integration.

As far as the intentionality of deliberate positioning or reified objects is concern, that question revolves around N’s success to objectify his narratives to achieve a coherent structural transcendence that he be understood , in terms that metamorphose the descriptive into idiomatic understanding.

I think he basically fails in this, and this is why Heidegger’s continuum gets full of exploitative gaps.

Darkness prevents objectivity.
Half-light obscures and convolutes. Prevents clarity.

Using obscurantism to escape detection and cultivating it to remain hidden, can only have a motive.

In Jude the Obscure, Hardy uses a deep metaphor, the indication of an objective motive appears missing, or forgotten. Not merely a tenuous desire to remain hidden, but sign of a nomadic life.:

"The word Jude can mean the wandering Jew. By calling the main character of the book Jude, Hardy is making a reference to a group of people who believe in God and are classified as wandering. By using this allusion Hardy is trying to convey to us that the path of religion is not one that has a true destination, but rather it is one of fallacy that leaves people wandering. Hardy further illustrates this point by making Jude a “wanderer.” Jude is a wanderer both literally and figuratively. Literally we see him wandering from place to place to find work, and figuratively we see him searching for his own identity.’

{This narrative helps to clarify distinctions between Husserl, Heidegger and Nietzche}.

The ref. Is lengthy and can also be said to invoke an obscure content built up in a way that presents some motive in ways parrellel… I plan to go into this more, in the above summary.

A landless people, would develop traits that would aid it in tis quest to survive, at all costs.
With no hearth, to ground them, they would develop a abstract hearth they could carry with them, from place to place, and from the vicinity of other tribes to the vicinity of different ones, appropriating from each whatever was of value, to them, and developing the language and behavioural skills to remain both distinct and seemingly disappear in them.

One of the most memorable friends I ever made was a gypsy, who arrived, along with the funfair his family owned… though he did chase me and my brother with an axe at the local city farm we were playing in, but the next day we cornered him (axe-less) and became friends for the duration that he was there for… he’d never had friends before.

We’d have tea and sandwiches in the front yard, but he wouldn’t join us inside the front yard or enter inside the house… very Vampiric, though he did eventually join us inside the front yard… which made him smile and happy. It was a sad day when he came to say goodbye, and we all hung-out for the very last time, never to see him again… the friendship being an indelible memory I’ll never forget.

Talking about Vampirism au passant, I remember my last visit with a gypsy, a girl barely 13, carrying a child in a hammock strung around her shoulders, and being reprimanded forgiving her some money. The air became arid, and lfeeling branded , felt as if complicit in some crime.