A note on societies

A note on societies

John Bjarne Grover

Tizian's "Bacchanal" has a central nucleus of this kind:

It shows the same four characters as my photo #12 (from the Danube Island) but with different order:

In the man-on-wagon scenario, the boy who lifted his finger for calling for my attention before he started crossing the street pulling in a rope the wagon with man upon (the man is a normal head but the body is a small sack-like form on the small flat four-wheeled wagon) is here #4 while the wagon is #1 - the head is probably the form over it. The man has black spectacles which can be seen as a slanting black line. In the real-world scenario, I am walking down the street on the righthand side and the boy occurs in the corner of the eye to the left - after the boy (in an anorak and with a tired look, about 10-12 years old) and man-on-wagon have crossed on my left I stop to let them ascend the curbstone in front of me - this takes a little time and it is a miracle how the wagon lifts itself up - as by a magic 'erection' - while the boy disappears in the landscape on my righthand side. (What happens with the rope? This seems to be an old mystery). The man is friendly and polite and his wagon drives slowly in on the sidewalk and I can proceed down the street. The photo #12 sees this scenario from the other side of the street - as if I had been coming up the street on the other side instead of down - photo #12 sees therefore the boy #4 and man-on-wagon #1 from the other side - here I would have been a walker on the far lefthand side outside the margin of the image. (Cp. the 'albatross' - reaching for the white-sailed ship - in front of the wine-lifter of Tizian). It is likely that what is #3 and #2 on this enumerated photo is the same as my view on the other side waiting for the wagon to ascend the curbstone - the boy is here #2 about to disappear out of my view to the right while #3 is the wagon lifting miraculously up on the curbstone. It means that what is otherwise (in the real-world scenario) outside the lefthand margin of the photo here is lifted by a 'movement' over to the righthand side of the image and #2 attains what probably is recognized here not as 'erection' on the curb but maybe as a 're-sur-rection' in christian conception.

This can be recognized in the idea that there is no muscle for lifting in an erection - it is the woman who 'is' the male erection. This identification could be one of the factors that shifts the understanding from the philosophical to the political. In Tizian's "Bacchanal" the one who looks leftwards with lifted 'finger' (that is, in the role of the boy who caught the attention in the corner of my eye while I was walking downwards) = #4 is here on the righthand side while the young man who looks rightwards (and disappears out of view on the righthand side in the realworld scenario) is here #2 inbetween the apparently married man and woman. He is the one who 'sees' the potential infidelity - if it is not only a normal handshake they are involved in - as if #4 is an old acquaintance who shakes hand with #3 while #2 is watching for finding out what is going on really. The head of #1 is here 'lifted' for the role of the wine. The 'albatross' (reaching for the white sailship) right in front of him (in the bacchanal) could in this excerpt look like a part of the wine-lifting man himself.

Now there are two forms of social structure interpreting this: These roles are clearly part of a human understanding of the world, the human semiotic constitution which provides the basis also for religious thought - and thinking generally. In some societies, though, the subjective mind falls apart and is recognized in social roles - and then what is a part of your own mind and thinking in photo #12 performs a mutiny and tries to run off with your wife in the 'bacchanal'. This makes it more difficult to see oneself from the viewpoint of the other and hence conflict is more likely to arise. That would be a society wherein the only chance to regain mental balance and peaceful understanding is by power struggle: If you can control #4 and force him back into slot #2, then you have the world under control and can see it clearly - otherwise you will suffer a schism wherein you cannot understand it properly and you may feel threatened by the doom of not being granted resurrection and salvation 'on the other side'. In such societies only the top powerholder can understand the world. This is the typical power struggle society. Judaism is (if I have understood it right) fundamentally philosophical which means that the world is in your philosophical view, which is in harmony with photo #12, seeing it on the other side as if the world (on this side) is the paradisal state (on the other side), but with the subject as #3 (waiting on the sidewalk) seeing historic time in the shift from the wagon on the left to the boy who runs out to the right - the head of #4 (originally the boy) will then be seen as the head of the man-on-wagon since it is the first in the rightwards-moving wagon (which is a small board with four small wheels) and clearly of a bigger dimension.

This could explain Hitler's bacchanal wherein the aim of the power struggle is to revolt against the cosmic harmony of judaism for gaining quasi-divine control with the unity of the world - by dressing up in the poetic totality (the entire poetic cycle of Holm) for controlling all of it.

Bacchanal: The head of #1 is the wine and the man is the albatross reaching for the white sails of the woman whose esthetics has turned into the trees behind her (even christianity recognizes 'wood behind'), while #4 understands himself as the suntanner up right. It means that the concentrated elements of photo #12 are flung outwards in the bacchanal - in my photo series from the wooden grove that corresponds perhaps to the more or less symmetric spread out from #12 towards #1 and #23.

How would that have been possible - when I just directed the camera arbitrarily around the grove and pressed the button without knowing what I photographed? It is called 'arbitrarity of signification', says I. The 'nazi' challenge for gaining control with this would be to think of it as the situation wherein the doorbell rings and you cannot know if it is friend or enemy outside. "But isnt that the same - you open the shutter and there is a black or white element outside?" It is not the same - the arbitrarity of signification answers to your faculty of faith - and you say that you cannot know if you are a friend or enemy of yourself - i.e. of your world?

The faculty of faith calls for a friendly answer from eternity beyond sensation and perception and the control of these.

These comments on scholasticism notice some telling names. In modern political mythos-construction it is likely that this could be shifted over onto the 'school' of scholasticism - for the flat 'nominalism' it could have been dismantled into. (Could be that is inherent in 'modism' - the idea that the meaning partly 'evolves' from the form of the expression).

What in the archetypal scenario of photo #12 are inner thoughts is in the Bacchanal projected outwards and recognized in social roles. While the archetypal thoughts recognize mythological structure in such a way that solutions can be found, the projection of these outwards means that a glove slapped in a face on a ball creates a division which can make it difficult to understand the situation, simply because somebody else takes possession of a part of your thoughts (or the one you danced with) and raises the territorial flag there. If this person refuses to give up identification with a part of your thoughts, it can be hard to avoid the replacement of philosophical truth with political power. Nazism enjoyed maximizing its power by identifying with and attacking jewish philosophy - could be that is why the death camps seems to have had jewish-philosophical names. Infidelity (as in the bacchanal) seems to be the trick for projecting own errors onto others for being able to blame them for it - that is when the inner philosophy could disintegrate into political struggle. (Tizian's 'Bacchanal' is, though, likely a work of art intending to re-unite the potentially conflicting elements into condition of a philosophical understanding).

Wien - named after the river running into the Danube - could have a complex in its name-similarity with the 'wine' lifted in the bacchanal.

It may be that a purpose with a possible political intrigue since Ragna Grøver's bluemark 'selen-sky' in her car in 1981 could have been to engineer a condition wherein the world is invited to believe that Zelensky is me (mythologically) and that I can be helped out of the nazi whirlpool of abuse and plagiarisms by Zelensky's Ukraine winning the war - and then the story would look like little Johnnie being helped up by his (in the mythology) 'nazi madonna' mother. 'Martial pisrepresentation' could be a trick for obtaining that.

I dont think that is a good solution. It would mean only a maximizing of the nazi era with its dark mythomania. Nazism is nothing but the most purely reactionary politics - striving towards replacing philosophical truth with political power. And since a holocaust is more power than truth, that is why the nazis went for a holocaust. A horror chain (Black Sea Loop) around the Black Sea is definitely more power than truth - hence nazism would go for that. Terror in general is typically more power than truth.

Who were the nazis really? What is that name 'William Croft' that seems to leap up now and then in the dusk of the peaceful pond? It sounds more anglophonic than german. Could be the nazis were a group of shady freemason-like freelancers who spoke german and considered themselves tools of history expressing itself in power. These things are now nearly 80 years old and it should be possible to lift them out of their shady existence into the daylight of truth. Could be, if William Croft is a name in nazism, inviting to confusion on german and anglophonic roles, this could be also why it is hard to find out of the role of the mythology on Ukraine and Zelensky relative to me - that is, if I am the socalled 'dritte Reich' (an expression which originally could have been coined from Eschenbach's "daz volc von drîzec landen" - cp. also Tizian's 'albatross').

Source:

Kennedy, I.G.: Tizian. Taschen, Köln 2018.