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Expelled from paradise

How marvelous it was in this home of the unreal 

Her crystalline castle full of beauty and wonder

A shining little Eden amongst the deserts of change

But from far in the distance, she could hear sounds of thunder

She toiled in her gardens of once ripening dreams

But their splendid little images were becoming unfurled

Their beautiful little blooms offered darkening edges

Because something was wrong, in her perfect little world

She appealed to the sun but its rays were blinding

And there were flashes of lightning from an approaching storm

They riled the dunes, making them wild and ferocious

Around her little castle, chaos had swarmed

The treacherous dunes crashed harder and harder

The ravenous storm was consuming the sky

She held desperately to the dreams under the vanishing sun

Holding tightly as she could while she whimpered and cried

Battered and shaking she collapsed to the sand

The storm had past, taking all she held dear

Rubble and wastes were what was left of her Eden

While thunder in the distance was all she could hear.

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Descartes and Metanoia

What is evident in Descartes meditations is the rebuilding of the groundwork of his world, seemingly coming to the conclusion of “I think, therefore I am” though such a conclusion is only the conclusion of one who collapsed all the world onto the mental plain, and for the worse I say. Descartes’ journey of re-discovery of himself is hardly so analytical, even though his thought process is irrevocably so; he tries to appeal to something beyond that it seems, though with middling results. But, then again, those results curved western philosophy substantially, and again, for the worse I say.

His Cartesian dualism seems more like a mind trying to rationalize itself into a coherent line, which in effect produces a tour de force of character for the philosopher, but his mechanistic view is found wanting, and even the collapse of his own body into his mind seems to be more of a trick he played on himself than any actual true discovery. The entire motivation for the meditations looks to be focused on the one simple notion that’s infinitely complex, knowing the truth. His struggle is tearing down the assumptions and elevating irrefutable truth, but the problem is you never really see the truth, because pesky consciousness can’t handle it. The best you ever truly get is an overlay of the world, almost like a 2-D expression, or low resolution map that’s not strictly true, but it’s true enough for you to effectively act within it without being completely overwhelmed by it’s constantly changing nuance. Descartes tried to break away from that, but he could only ever gain an intimation of something more and well beyond what he could consciously see, which he aptly named God.

It was his muse, so to speak, through his meditations. It was the inspirational mana that fell from the heavens giving him notions of a wider existence. It would be more correct to say that it was a broader attention that existed in reality, one that guided his interests, and such a thing as that is not an accident. We have two kinds of attention in the world, one is a very focused singular attention which is excellent for singular tasks, but there is another that works in tandem with that focused attention which is a more vigilant one, a meta attention that notices the world outside, and keeps a lookout for opportunity or interest. This attention also works on the abstract plain of mental conceptions, most call the meta vigilance intuition, this kind of attention is derived from the right hemisphere of our brain. The right hemisphere, in turn with regulating affective states, also notices that which is outside of itself, it sees the unknown in a sense and knows that there is an unknown, almost providing an ingrained devils advocate within biological function which acts as that which deals with the unknown as compared to the left hemisphere that deals with the known structured reality.

Descartes destroyed the known sphere he had used and depended on because he saw rightly that it was an amalgamation of assumptions, which was probably fashioned on the broadest general truths. So, he burned his conceptualized world to the ground and built a new one from the ashes. That kind of action falls in line with the concept of ego death, or in his case the willful destruction of ones ego. In turn this led to another phase, or more of a transition which is Metanoia, the change of heart. He willfully changed his heart to elevate his conscious reality on an indestructible foundation of immutable truth, that truth being his mind and it seemed in the razing of his world, that was the only thing he could really hold onto from moment to moment as real since it was the one thing that was always conscious to him, which was his own consciousness.

So, this left him only one choice, collapse everything into mental reality so that consistency may be maintained, and in effect he was spirited away by the divine father I suppose, if I want to take from Neumann. His mind completely separated itself from reality, and performed a swap, instead of conscious conceptual experience arising from sensory action, he hypothesized that the senses, being tricky were illusion of consciousness conception. He basically placed the weight of the world on a faculty that cannot handle it, and even after all of that, I still don’t think he ever really believed it since he was subservient to something more anyway, God.            

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Enuma Elish And The Transition Of Generations

One thing to remember when looking at the old stories is to understand their complexity, if you merely take a materialist route of which myth and religion are proto-sciences, which is a nineteenth century notion proposed by Andrew Lang, you will miss a wider context that has a much richer meaning. There is also a more common western notion that they’re just stories of an agriculturally developed species that grew bored, that is also untrue. Myth, and story in general seems to have a much more complex origin than many are willing to accept. First of all, the story itself seems to be the most effective way to convey ancient wisdom, or the wisdom of the forefathers across the generational divide; it’s the only way to express the values and struggles of the generations that came before, those values and struggles usually taking the form of personalized abstracts like gods, heroes and monsters, from which great battles are conveyed. That essentially is the function of the shaman, or later, the dramatist, who is the “wild” individual at the fringe of tribal  or civilized society; they convey the wisdom of the culture in a digestible way. This is because all the information of the world and culture is too much information to be taken in just as information, people aren’t information processors, they’re inheritors of experience. So, a trick needs to be played, but it’s not really a trick; all of that information needs to be molded into actionable experience so it can be adopted and successfully embodied by the next generation. That would be a reason why even though us here in the west pride ourselves on the success of the logos principle, we still hold the movie and the actor at higher positions on the social hierarchy.

The second notion is why do we even need to convey all of that information, or wisdom through an actionable story? Well, because, we are primed to act in reality above all, not think and use cognitive reasoning. We are action oriented imitators, that’s most likely the biggest reason we were able to socially evolve so fast, we stood on the shoulders of the giants that came before. That function also goes into the nature of games, especially higher order games like social imitation games. I’ve stated in a previous post that you don’t really inherit “traits” so to speak, it’s more like you inherit a vast depth of psycho-behavioral potential, which is potential that can be refined and ingrained within the individual through action in response to environmental stimulants. You can see that when the boy plays the knight in his games with friends or with himself; it would be woefully naive simply to say that he’s making it up to merely entertain, no, he’s embodying an incredibly old and powerful value behavioral system, that of the hero who challenges the dragon.That myth goes farther back than even when myth was recorded on stone tablets in cuneiform, and that play action, if valued enough and nurtured enough, becomes ingrained affective psychological behavior. That boy would eventually become a man that embodies those values that inhabit the spirit of the knight. That is the power of the story, it’s something to embody, and that’s why we still intuitively exalt the story above everything else.

This now brings me to the Enuma Elish, which is the Babylonian epic of the creation of the world. There are three big themes inherent within the epic, the generational transition between the old ways of things, namely being the world parents Apsu and Tiamat, and the new order of their children, the gods. The next is the battle with the dragon which represents the encroachment of chaos that comes with the tension placed on society when the transition occurs, and lastly the creation of the new world, or the instillation of new values that comes with the defeat of chaos and the end of the transition. The easiest way to express this is that with every new generation there comes a new perspective, there comes new ideas, and with every child eventually going through a messianic phase in early adulthood there comes a war in heaven, or a great battle between metaphysical values that happens on the psychic elevated plane of society. This puts a large, but necessary strain on the cultural fabric, with the old guard being the previous generation holding to the wisdom of what works(that could have it’s image in the old gods) and the new upstarts that offer new ways to act in the world(which can be construed as the new gods). The problem is that when this strain comes, you invite another aspect that lies beyond the societal border, which is Tiamat, the primordial chaos of pre-creation. That can be seen most explicitly in cultural revolution, which is always bloody and has a chance of completely doing that society in all together, which I’ll elaborate on a bit later.  

This notion ties very much into the succession of kings and the rise of new rule, the king of that society would would embody the hero of the central cultural myth, the Babylonian ruler would inhabit the image of the hero Marduk, just as the Egyptian Pharaoh would inhabit the image of their hero Horus. The reason they inhabit the body of the hero is because these myths have a very important warning, which is if you kill the father(Apsu, Osiris) or the culture that came before, you invoke the wrath of something much more dangerous, the wrath of Tiamat, who is the mother and destroyer of all things. That is the image of Marduk being devoured by his grandmother, which is a society consumed by chaos. It is the warning that even though the old ways of things can be rigid, or even tyrannical, you destroy it completely at your own peril because thought rigid it provides a safety and opportunities for you never before known in all the history of the earth. It only takes one generation to destroy hundreds or maybe thousands of years of brutal, hard earned progress, and it’s usually never revived. That would be the dangers of the new generation of values, it’s that society can only be strained so far until it falls apart entirely. That’s why the notion of Horus saving his father is so important, it’s the compromise, the new generation(Horus) sacrifices their right eye to resurrect the old values(Osiris) so that they can implement their new ideas on the shoulders of the old ways that worked.

The old system also has its negative, which is namely tyrannical stagnation. In the Enuma Elish it was Apsu that initiated the war, not the children. That would be the expression of the old structures forcing themselves upon you, essentially killing your potential and stagnating culture, that would be why new ideas from new generations are so important, because even though society is fragile it has to change. The world is always changing, people are always changing, if culture remains stagnant and rigid it becomes consumed by another one, or it dies by being completely unequipped to handle new challenges that arise through times natural flow. The compromise of the old guard is to step back, to be the foundation, the heavenly father which is the wisdom for the new generation, the guiding hand that lifts them up higher than before.

There is also one more principle that comes with the generational tension, it’s the trickster principle, the one that secures power through wiles and by goading the chaos principle [insert Trump meme here]. That has it’s own mythological representation through the cunning Lucifer, and the Babylonian Kingu, who rises to power by coaxing Tiamat’s rage. Now, we still need to separate that principle because there are two kinds of tricksters, the first is the false messiah, who cloaks himself in virtue to gain power and spread chaos, namely what I mentioned above, the other is the Jester, the one who exposes other tricksters. Though the Jester is inherently a chaotic character, it’s a healthy chaos needed to keep culture in check and to lift the veil of the false messiah. This is perhaps the most dangerous part of cultural transition, it leaves the seat open for Kingu to be exalted, whether it be a malevolent individual, or malevolent ideas. This is where the hero is needed, and where Marduk enters the stage.

The hero image is the revitalizing force in society, and the one who stems chaos with courage, truth, and reason, the logos principle. It’s he who wears a crown of light, and when he speaks, swords come from his mouth. Namely, it’s the one who speaks the truth that cuts through the darkness of falsehood, and with the mighty thunderbolt, rends the dragon. That image can be placed in an individual as done with the succession of kings, or it can be placed in an idea, perhaps of freedom, justice, or wisdom. The problem is going back to the Kingu principle, because it’s hard to know what the true messiah is because knowledge can be used just as easily to deceive as it can be to enlighten, that was the whole theme of Plato’s Gorgias. That is also why Marduk faces the armies of chaos alone, because most can’t discern the truth when it’s spoken to them, and most would rather believe a lie rather than hear it, and would devolve to what feels good rather than what is good as their prime navigator. That is the army of scorpion men, fish men, serpents, and dragons birthed by Tiamat. That army is also ideas both old and new that are bad, that hurt culture and need to be done away with. If truth wins, if Marduk is victorious, then there is still a destruction, which is the old lies being burned away, but from the ashes a new order is born upon the groundwork of that truth, a new world is born from the generative principle of the shining ideal, one that still honors his forefathers, but they bow to him. That is the victory of the true messiah that you also see in revelation when he challenges the dragon. 

Every generation goes through this struggle regardless of technological or cognitive enhancement. It’s a battle that’s happened over and over again, and it should because it is ultimately healthy for society. The only problem I see now is that this old wisdom, known thousands of years ago seems to have been muddled, or confused. Perhaps it’s due to the rise of the internet, but more likely due to enlightenment assumptions that are pathologically held in the west, Which seems to be that stories are mere superstitions and pre-science anomalies, that try to explain the physical world, that is not true.      

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In the order of the top left to bottom right is the thunderbird that Gilgamesh witnesses in his dreams on his journey to face the Humbaba. The next is the Humbaba's battle with Gilgamesh and Enkidu. Next is the scorpion men encountered by Gilgamesh on his journey to the ends of the earth, and the last is the battle with the bull of heaven; in the picture is Ishtar to the left, Enkidu holding its horns, and Gilgamesh at its back ready to deliver the killing blow.

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Tablet 3 of the Enuma Elish, where Tiamat who is the mother of creation prepares for war in the heavens against her children and grandchildren. It is here that one god is exalted above the rest to battle Tiamat, he is the son of Ea and the grandson of Anshar, Marduk.

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Finally, after so long I have a physical copy of the Babylonian creation epic.

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Mad Titan, Or Last Man

Please note that this is an incomplete assessment of motivations simply because comic book characters will never have an end to their story. I am also not informed on Thanos’ current exploits in the comics since I have not read Marvel, or any comics for a number of years. The focus will be on an older iteration of Thanos and his fascination with death that I believe derived from him growing up in a utopia of immortals essentially. Also, this is not an explanation of the Hollywood version of Thanos since his motivations make no sense and is clearly just political propaganda from writers that don’t know anything about population trends. This is not a super in-depth analysis either, I’ve merely looked at his motivations through the lens of the Nietzschean last man, as well as the underground man from Dostoevsky's works.

I had difficulty understanding it at first, mostly because I personalized concepts too much that I shouldn’t have, namely Lady Death. Which in turn, made Thanos’ motivations look like an outburst of an angsty teenage boy. You can’t fully personalize a concept in a story otherwise you miss the point, Lady Death is still death itself, the only real reason it was given form is because that’s seems to be the easiest way to relate to values expressed in stories; it makes it easier to embody them through secondary personalization, which is a term coined by the psychologist Eric Neumann. Secondary personalization is an act from which the more something is understood, the more it is refined in the consciousness until it’s anthropomorphised completely, creating almost a god image within the individual. It’s essentially the same as the image of Helen of Troy discovered by Faust when he travels to the realm of the mothers, she was the spirit of unbridled creative generation and freedom that he longed for. Lady Death is the anthropomorphised value of what Thanos desires most, and he expresses it as female because he is male, because it’s that which he lacks, the other part of his reality. That is partly a Jungian notion from which the male takes an inward journey to discover the Anima within, or his inner feminine that is tied to his highest value, making the attaining of that value an almost sexual act of union between being and image, something like that.

“But wait” you may say, “then why is Death a woman to all within the Marvel universe?” Good question, that is because the concept of death has always been a feminine one throughout history; it is the consumptive element of nature that consumes the life that came before so that successive generations may come into being. The easiest picture to express this in is the Ouroboros, the serpent that eats its tail. It is the sphere that contains existence from which death, or consumption is the precursor to new life. Other faces of death are the Babylonian Tiamat, the Malekusian Le-Hev-Hev which translates to “she who draws us in with a smile so she may consume us.” There is also Nut from Egyptian myth, the mother sky who embraces all in death, which you can see her image placed on sarcophagi, and Ta-Urt who is the bestial guardian of the underworld. Death is Feminine because it is part of nature, or the great mother earth, so it’s not surprising that we will portray it as a woman... Most of the time.

For this assessment though, I want to focus on Lady Death as a very singular expression of his “highest art” so to speak, which arised from the stagnancy of Utopianism. So, let’s begin.

What would a man(or eternal) strive for when perfection was already attained? I really needed to think about that for a second because when you think about utopia, the interesting bits are always the struggle to achieve it. That’s where the meat is in such a value system, that’s where all the action is, and that’s when I had an idea. So, what would a man(eternal) strive for when perfection was already attained? Perhaps he would strive for struggle itself. Perhaps when given eternity, what then would be more desirable than the finite? What could you desire more after you are given the universe through society, than to have it all taken away? It sounds crazy doesn’t it, who would ever destroy perfection merely to struggle? Well, a human would... Even in the face of eternal happiness and comfort, simply to achieve one semblance (if even for a moment) of the meaning that comes only from the finite and imperfect, a person would dash it all away.

That is the purpose of Thanos, he craves the one thing that was taken from him by his parents, and the society that believed it knew better, namely death. Honestly, what meaning could you ever possibly find in a world where people have already conquered the most meaningful aspect of it? Things have to die, things have to wear down, they need to decay because the universe isn’t a structured space of rules and laws. It bends, it curves, it’s constantly changing, it’s a flow of perpetual becoming. The speed of light itself is constantly changing, and that is the speed of causality itself, which is the frame from which events can even happen in reality. Laws, structures, immortality are all societal concepts born from consciousness, more precisely the consciousness of the left hemisphere; especially the concept of immortality. Things are always changing, we just cant perceive most of it, and you, are not really you. Everything you are now is the current complexity of a a cosmic lineage that dates back to the very beginning of existence. All the material that makes up your being came from the death of something before you. Whether it be the nutrients you ingest from animals and plants, or the elements of you refined in the cores of long dead stars. You are a process, not an end, and to extricate yourself from that process is to produce a fate far worse than death could ever be, an immortal Utopia.

I had to ask myself, is that really the goal of life, just to transcend it? If like the eternals that happens, what other outcome could you have but a utopia of eternal happiness and complacency? Why would you even want that when what is taken is so much? What other options could you ever have than sacrificing everything that made you human; to place it all at the alter of godhood, so that you could simply keep existing and going through the motions like a machine. There’s a reason why vampires are portrayed as impulsive nihilists most of the time, because what the hell else can you do with eternity once you have it. Of course there is a universe full of possibility within the universe, but it will never be achieved by the eternals because they are no longer part of that process and the only kind progress they can achieve is scientific analytical processes which is very indicative of western culture now, because that’s all they value. Which in turn will probably only lead to them becoming like Celestials, ethereal nothings that don’t exist in reality, that don’t understand the underlying complexity and importance of emotion, and merely act like computers.

That entire society and Thanos himself is a microcosm, most likely of the projected anxiety of a post-industrialized society that puts far too much (to an almost pathological degree) value in a singular system of linear analytical cognitive progress. My god ladies and gentlemen, if eternity was sitting in a lab continually making it easier for people to live for the eternity they have anyway, where all that’s left are mere intellectual and habitual procreative pursuits, I would also think death and destruction would be a far more preferable option, it could even become an ideal. Jesus, just try it for a hundred years and get back to me on how you feel about it. I don’t blame Thanos for pining after it, lusting after it, making it his muse, his companion, the Galatea to his Pygmalion, his reason for being. It’s meaning that matters, not more life, not happiness, not perfection, It’s the meaning in the struggle for more life, it’s the meaning you derive from struggling for happiness, it’s the meaning in life that you derive from struggling for perfection that gives depth to existence. It’s not the result, it’s the process. Death matters because it makes everything beautiful, everything meaningful, everything is something you will never see again, something that will never be again. Struggle matters because it makes you more than what you were, it allows you to change. Now let me talk about struggle more.

To struggle is to be human, to suffer is to truly live. Humans are the only beings that can say life is suffering and have a smile on their face. And humans are the only beings in the known universe that will willfully suffer in full understanding of it. Each person has a vast ocean of dormant potential in them just waiting to be realized. I don’t say that in a metaphorical way, though that’s the best way to describe it. You have a plethora of dormant genes in you that wait for the right environmental factors to be activated and embodied as new modes of being, because humans are action oriented, not cognitive oriented. It’s the notion of wishing upon the stars, each one represents a potentiality of what you could be, and you have a choice, you can pick a star and struggle for it. But if you don’t have to struggle anymore, if you have forever and everything provided for you, you won’t do it, you won’t experience it, because you don’t have to. I say this because Thanos is human, strikingly human, perhaps even the greatest of what humanity could be, essentially he is the underground man in a world of last men.

“I tell you: one must still have chaos in oneself to give birth to a dancing star. Alas! There comes a time when man will no longer give birth to a star. Alas! There comes a time of the most despicable man, who can no longer despise himself. Behold! I show you the last man, ‘What is love? What is longing? What is a star?’ So asks the last man and he blinks. The earth has become small, and on it hops the last man who makes everything small.”

“His species is ineradicable like that of a flea; the last man lives the longest. ‘We have invented happiness’ says the last man, and blink. They have left the regions where it was hard to live for one needs warmth. Becoming sick and being suspicious are sinful to them: One proceeds carefully. He is a fool who still stumbles over stones or human beings!”-Thus Spoke Zarathustra p.13

Of course, it would be very rational to want such an existence, and everyone on his world is very rational, but rational isn’t reasonable, and reasonable isn’t meaningful. People are contradictions unto themselves. They almost never want what they need, or need what they want, or even want what they want. The easy paradisaical life is a beautiful dream full of splendor and joy... Only so long as it stays a dream. If man were to make his dream a reality I believe, well, I know that the moment after he would spit on the very ground he toiled so arduously to build and content himself with its absolute destruction,  just so something interesting could happen in his utopia. That is the folly of it, and that’s what I believe Thanos saw, even if he didn’t understand it himself. That is essentially Dostoevsky's notion of utopia and the values of enlightenment which is basically the society the eternals had made. 

“There are continually turning up in life moral and rational persons, sages and lovers of humanity to make it their object to live all their lives as morally and rationally as possible, to be, so to speak, a light to their neighbors simply in order to show them that it is possible to live morally and rationally in this world. And yet we all know that sooner or later those people have been false to themselves, playing some queer trick, often a most unseemly one. Now I ask you? What can be expected of man since he is being endowed with such strange qualities? Shower upon him every earthly blessing, drown him in a sea of happiness, so that nothing but bubbles of bliss can be seen on the surface; give him economic prosperity, such that he should have nothing else to do but sleep, eat cakes and busy himself with the continuation of his species, and then out of sheer ingratitude, sheer spite, man will play you some nasty trick. He would even risk his cakes and would deliberately desire the most fatal rubbish, the most uneconomical absurdity, simply to introduce into all of this positive good sense his fatal fantastic element. It is just his fantastic dreams, his vulgar folly that he will desire to retain, simply in order to prove to himself(as though it were so necessary) that men are still men and not keys of a piano, which the laws of nature threaten to control so completely that one will be able to desire nothing but by the calendar. And that is not all: even if man were nothing but a piano key, even if this were proved to him by natural science and mathematics, even then he would not become reasonable, but would purposely do something perverse out of simple ingratitude, simply to gain his point. And if he does not find means he will contrive destruction and chaos, will contrive suffering of all sorts, only to gain his point! He will launch a curse upon the world, and as only man can curse (it is his privilege, the primary distinction between him and other animals), may be by this curse alone he will attain his object- that is, convince himself he is a man and not a piano key! If you say that all this, too, can be calculated and tabulated chaos darkness and curses, so that the mere possibility of calculating it all beforehand would stop it all, and reason would reassert itself, then man would purposely go mad in order to be rid of reason and gain his point!” -Notes From Underground p.230-231

The point I’m expressing is that people are inherently chaotic, and that they love it too, it’s the source of our greatest freedom, the dancing star. We would also destroy all that was good for us merely to keep it. That chaos is lethal to utopianism and eternity. Thanos killed his people and worshiped death because perfection had a flaw, it was meaningless. They sacrificed everything for it, and in turn missed the sole notion powerful enough even to propel one to remake the whole universe and succeed... death. But, that’s just some guys opinion. 

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Ideas run amok

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Ouroboros

I've been thinking on the concept of the Ouroboros, or the sphere that contains the world. The serpent itself represents causal momentum or eternity; Neumann's view was that it was the masculine generative and destructive principle while what was contained inside it was the feminine transformative principle(infinity), or reality. Neumann it seemed was influenced by Johann Bachofen who was an inquisitive study of the old cults of history, developing his original theory that some may be familiar with. The theory was that humanity during the state of pre to early civilization worshipped a matriarchal supreme goddess as opposed to the patriarchal male god of order that is prevalent through many myths.

It seems Bachofen's reasoning for this was the origins of many old myths, namely that most all of early creation myths had the original mother of creation. The Maori's had Papa, the Babylonians had Tiamat, the Greeks had Gaia, the Malekusians had Le-Hev-Hev. It is also worth noting that many paleolithic idols are of females, most often with accentuated breasts as well as hips to express fertility. There was also the other notion that many male gods had their origins in vegetation, being gods of the land, placing their origin in feminine nature. Though Bachofen was right that many myths have their origin in a mother figure, it doesn't seem that pre-civilization was devoted to matriarchal servitude of nature, with male sacrifices and the like.

It seems that with most early myths there is an original unity of world parents, a great mother and father from which the world and god children are born. From those children or grandchildren a sun hero is born that represents the civilization state or logos, Horus, Marduk, or Zeus. It seems most creation myths build to the succession of the son who makes a new world from the old in the case of Marduk, or keeps chaos at bay in the case of Horus. From that story a succession of kings is born, The old king is Osiris or Apsu, which is the old laws that are becoming stagnant, and the son would be Horus or Marduk, the new child that will remake the world or keep it going by stemming the chaos principle Seth. In that, a cycle is born, and in the middle still lies the feminine in Isis or Tiamat, the transformation principle that secures a new generation or the queen that gives birth to the next king. So, it looks like a complex ritual that relates the expression of transition, and the expression of transition is expressed in the image of the Ouroboros.