Murakami's primary concern is metaphysical, the relationship between planes. The subject is not just a subject, but they open up internally to an entire cosmology, related to their location. Location/Person are the same topic in text. Traveling between subjects, relationships have a metaphysics unique to their own.
Water, flowing, ties into the broadly reaching theme of emptiness - a space where multiple subjects meet and move against each other, violence.
Murakami's problem is that he writes the same novel over and over. Wind Up Bird is equal to Kafka on the Shore as "read one and you've read them all."
Saturday, November 16, 2019
Movie Notes
The Ritual
In defiance of the natural order, the survivor worships the death they evaded in cowardice. The god hangs from the trees as the eternal reminder of what could never be done, of who could never be saved, of who was forced to die in order to ensure one's life. In order to justify his continued life, the survivor must contest the force which brought death upon the others, making his force worthy of having cheated the natural end.
The VVitch
God was always absent from the beginning, as the cycle's first iteration is the casting out of the father. The original state of the family is immersed in the primordial rejection, the Augustinian exile from the enclosed Heaven, the casting-out from the Garden.
The Outside is constructed in opposition to the Inside, which defines itself by ever-shrinking standards, deterritorializaiton occuring as the Inside's two characteristics come to bear - the Inside can only define itself by creating the Outside and the Outside is constructed as such that it appears in infinitely many intrusions upon the Inside.
The Inside forever shrinks and the purity within forever shrinks away, eluding grasp. The cup of the homeland leaves to venture into the forest, the cries for the savior are words of the devil. Augustinianism leaves itself defined by being *not* the Outside and therefore anything not the Inside becomes Outside. Augustinianism drives to death itself and its God as the Gnostic reality asserts itself and the world becomes inverted - the darkness and dread of the Inside gives way to lines of flight, the mystic transcendence.
Spring Breakers:
Desire is a liquid-like force, moving through organic machines in motion. Motion is accelerated further, pushing desire further, like an engine revving up. Each death is the shifting of gears, sloughing off excess as greater velocity is achieved.
Pulp Fiction:
Capitalist Violence, resulting in an Image. Image returns back as Return Violence (inspiring desire, pleasure, sexuality), onto Capitalist Violencers. Golden briefcase is value, at the center of it. This is a daily life cycle of capitalist machines.
I Don't Feel At Home In This World Anymore:
The film begins and ends with consumption, watching the stars, the gaze of indifference in the film's internal reference. Between indifference and malice, the individual is caught eternally chasing some sublime happiness beyond, the Church, the Golden Light. Only through an embrace of the death drive in the futile revenge-quest and endless consumption can peace ever be found.
In defiance of the natural order, the survivor worships the death they evaded in cowardice. The god hangs from the trees as the eternal reminder of what could never be done, of who could never be saved, of who was forced to die in order to ensure one's life. In order to justify his continued life, the survivor must contest the force which brought death upon the others, making his force worthy of having cheated the natural end.
The VVitch
God was always absent from the beginning, as the cycle's first iteration is the casting out of the father. The original state of the family is immersed in the primordial rejection, the Augustinian exile from the enclosed Heaven, the casting-out from the Garden.
The Outside is constructed in opposition to the Inside, which defines itself by ever-shrinking standards, deterritorializaiton occuring as the Inside's two characteristics come to bear - the Inside can only define itself by creating the Outside and the Outside is constructed as such that it appears in infinitely many intrusions upon the Inside.
The Inside forever shrinks and the purity within forever shrinks away, eluding grasp. The cup of the homeland leaves to venture into the forest, the cries for the savior are words of the devil. Augustinianism leaves itself defined by being *not* the Outside and therefore anything not the Inside becomes Outside. Augustinianism drives to death itself and its God as the Gnostic reality asserts itself and the world becomes inverted - the darkness and dread of the Inside gives way to lines of flight, the mystic transcendence.
Spring Breakers:
Desire is a liquid-like force, moving through organic machines in motion. Motion is accelerated further, pushing desire further, like an engine revving up. Each death is the shifting of gears, sloughing off excess as greater velocity is achieved.
Pulp Fiction:
Capitalist Violence, resulting in an Image. Image returns back as Return Violence (inspiring desire, pleasure, sexuality), onto Capitalist Violencers. Golden briefcase is value, at the center of it. This is a daily life cycle of capitalist machines.
I Don't Feel At Home In This World Anymore:
The film begins and ends with consumption, watching the stars, the gaze of indifference in the film's internal reference. Between indifference and malice, the individual is caught eternally chasing some sublime happiness beyond, the Church, the Golden Light. Only through an embrace of the death drive in the futile revenge-quest and endless consumption can peace ever be found.
Killer is Dead
The game is broadly centered on "blood", libidinal energy. Blood is the energy from the moon, the opposite of the sun. The Moon and the Sun meet each other on Earth. The Sun is control and order, immobility, whereas the Moon is the moving violence of libido. Mondo is between both, the gameplay being in the path of David, where he moves with the Moon in executing violence, but under the whims of the Sun, under control of men like Bryan and his samurai friend, who subordinate the Moon to the Sun in order for their ends. David's line that Mondo would need to kill Mika to rule the sun, Mika is in this same way, part of the Sun where she revives Mondo, ie, putting blood back into the hands of that which is controlled by the Solar force of Byran. The other side of this is that of Scarlett, who is most likely the Dream Woman judging by Scarlett being only two inches taller (perhaps due to heels) and having nearly identical voice and hair, that of giving into being a mere conduit for Blood, in the case of Scarlett specifically, in giving it to her as some sort of Goddess, as is the obvious symbolism of her design in Episode 11. At the end, Mondo becomes King of the Earth, where he is now in control, able to "play the game freely", aka, fully indulge to his fullest whims in the violence of Blood without the interference of the Solar force of the ordered/linear game.
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