The Green Lantern and the Monomyth

That a superhero movie follows the monomyth is no great surprise. The interest is in how each movie treats the hero's path. The new Green Lantern movie features many of the signature elements of the hero's journey. The treatment ranges from the cliched to the surprising.

First and foremost is the apotheosis of the father. Hal Jordan is the son of a fearless test pilot. As such he must live up to those expectations. He walks in the footsteps of his father, yet never feels he is adequate. Irresponsibility stems from doubt. Since he inwardly feels unworthy he, whether consciously or unconsciously, sets himself up to fail. The culmination of these fears occurs in his stalled descent in a fighter jet. Hal misses the opportunity to control his plummeting plane because he relives the moment of his father's death. Frankly this could have been played out more efficiently. With Top Gun and the parody Hot Shots, this scenario has the mark of cliche.

The we have the encounter with the gods and the call to adventure, these two scenarios being inexorably linked in Green Lantern. With the crash and imminent death of Abin Sur, Hal Jordan is selected by the ring and brought to the injured alien. Despite the information overload of being whisked through the air and confronted by an alien spacecraft, Hal shrugs off this disorientation when he spots the injured Abin Sur. This is one of the first of the tests and trials Hal faces in order to prove his worth as a hero.

Abin Sur, as messenger of the gods, offers Hal the power of the ring. The ring here represents the magical weapon, the gift of the gods imbued with the power to fight evil provided the hero is worthy. The lightsaber from Star Wars is such a weapon as is Thor's hammer. But with the power of the ring comes the responsibility of using it wisely. Hal, who has shown up to this point a knack for irresponsible behavior, must overcome his past self to become the hero of destiny.

The call to and refusal of adventure is treated somewhat differently in Green Lantern. At first Hal is eager to accept the call. He swears an oath must further prove his mettle in the underworld, here represented by the planet, Oa. Oa is home for the Green Lantern corps. It is the source of their power. In a mythic sense it equates to Mount Olympus or Asgard. Oa houses the gods. Journeying to Oa, Hal Jordan is first prepared in a baptism of pain. His body is made pure that he may interact with the gods, i.e. the other Green Lanterns. As he explores more and more of Oa, he encounters creatures stranger than the next. Now Hal is a visitor between worlds. His gift removes him from humanity and his humanity separates him from the aliens on Oa. At this time he is the most alone and the most vulnerable.

He is aided by two aliens, other messengers of the gods, who provide him with tests of skill regarding the mind and the body. It is Sinestro, though, who tests Hal's spirit. Sinestro, played by Mark Strong, enters as Hal's rival, filling a role for a bother battle. Hal must match or surpass Sinestro in skill to be found worthy. That Hal fails in this test is the seed of his decline. He rejects the call to adventure and returns to the Earthly realm as a quitter.

It is only when his own realm is threatened that Hal reclaims his charge. All this while evil has taken root on Earth in the form of Hector. A wayward scientist, Hector is infected with evil. It claims his mind, body, and soul. Hector is Hal's shadow. They love the same women. Both have father issues. Each is crippled by self doubt. While Hector is corrupted by his feelings, Hal acknowledges and controls them. He returns to Oa only to be refused assistance. The gods turn their back on him. He confronts the gods, and Sinestro, and oversteps his place.

Hal battles evil on his own, knowing that he is outgunned. He is fully actualized. He uses the skills he has learned along the way, as well as the magic weapon, to defeat evil. In his moment of self sacrifice the gods accept him and rescue him from death.

There are several other elements at work here as well, but that is the gist of the monomyth. It's pretty straight forward. This may, in part, be the source of much outcry against this film. Much seems familiar. Some have remarked that Green Lantern is just The Last Starfighter, failing to grasp that they share the same mythic elements, not the same story and characters. However, other films have been more effective in telling the story. While the script is not as sparkling as Thor or X-Men: First Class, it is a far sight better than the new Star Trek or Tron: Legacy. In short it falls somewhere between, sharing a spot with Iron Man 2. The principle actors surpass the script to deliver a movie that is much better than it could be.

TRON! Legacy?

When Legacy came out I knew we had to see it. I had reservations. I expected very little, but being Disney and being TRON I at least expected it to be fun. It wasn't. It is not uncommon that I may sigh or roll my eyes at a film. Something can be ridiculous, yet still enjoyable. It is rare that I actually sneer at a film.

Why sneer? Because I hold something in contempt. Because the film insults my intelligence. Because I see past the spoken word to see the poorly written script seeping through. There are many reasons to deride the film. Granted I hated Legacy less than Transformers 2 or Armageddon, but far more than Twilight. I hold it about even with the Star Trek reboot. Thinking about it, both movies are a kind of re-imagining for a new and younger audience. Story and structure is less important than pretty people and shiny special effects.

I had my doubts when TRON Legacy opened with a number of TRON action figures on a boy's shelf. Hang on a tick. Did Flynn come out with his adventures? Did he market his story to Disney? Is everyone aware of his misadventures in the system or did he fictionalize his account? I was confused and a little dismayed. Flynn tells the story of TRON to his son, then disappears. This is where the film lost me. A montage of TV news reports informs us of the events that take place after Flynn's disappearance. Besides being a clumsy way to present exposition, the clips take place on TV screens in some nebulous space. Where are these televisions? Are they in the system that, as far as I know, has no connection to the web? It's a poor choice by the film makers that took me out of the film completely.

Then we meet our hero in earnest, a rebellious, tech savvy, twenty-something with more hair gel than soul. We have seen the archetype of the angsty heir before and we've seen it better. Sam cannot compare to Bruce Wayne or Tony Stark. So Sam breaks into the Encom building after recklessly driving his motorcycle and avoiding cops. In this sequence we see the amazing Cillian Murphy which lifted my hopes only to dash them. Murphy is just a cameo, when his presence as a villain or foil would have added considerable gravitas to the film. Sam hacks into Encom's system and makes the new OS they worked on open source.

We discover later that Sam is the major share holder and could have avoided flagrant lawbreaking just by attending the meeting. And what's with Encom? The offices are bathed in an electric blue light with chrome and glass everywhere. What happened to the natural wood? The warm, subdued lighting? The system breathes with more life than Encom which only narrows the distinction between these two worlds.

When our reluctant hero finally enters the system we find that he really isn't all that heroic at all. Constantly he is being saved, or lead, or captured. Everything Sam does is passive. Things happen to him. He doesn't really do anything for most of the film. The rare exercise of will does not contribute to the story. Sam is bland and has no chemistry with his father.

And the system itself is a far cry from the TRON we know from 1982. The world of the system then had charm, with it's minimal graphics. It looked like an electronic world. The system of TRON Legacy is hyper real. It looks more like a futuristic society than an electronic dimension. The grid of old has been replaced by what looks like granite or asphalt. The shimmering, latex suits of old appear to be more natural fabrics now. It rains. Moreover, the world seems to be populated by supermodels and EBM band members. The whole experience is more style than substance.

The action itself is highly stylized. Programs don't just throw disks, they have to do some kind of extreme martial arts 900 spinning backflip before doing so. Somehow the modernized representation lacks the charm of TRON 1982. The light cycle sequence, though beautiful, doesn't follow the sharp 90 degree turns of the original film. The sense of a video game world is lost.

And then there is CLU. We see a digitally younger Jeff Daniels. CLU has the same surfer-dude mannerisms of Flynn, yet has this fascist perspective. The lazy posture and the rigid attitude conflict in such a way that I have difficulty fusing the two.

The story is convoluted and mostly involves flashbacks. Flynn creates CLU. They discover the spontaneously generated programs. CLU destroys them. TRON gets reprogrammed. And what is with TRON? How can you in good conscience call a film after a character that features mostly as a foil. And when TRON finally breaks from his spell there is absolutely no consequence. For the most part Legacy follows the basic action of the first movie. Man gets zapped into the system. He has to play games. He escapes. He makes his way back to the portal to get back to the real world. Legacy features a few more action sequences, namely the entirely unnecessary club scene. The added action doesn't move the story, making Legacy the equivalent of The Matrix: Reloaded. Nevertheless, there remains the dull dinner sequence and the light boat scenes that dragged much like the scene by the pond in TRON.

Much has been said regarding the soundtrack by Daft Punk. I felt the music too much in the foreground, the aforementioned club scene being just one account. The music is good, but distracting or, rather, too on the nose. It's presence turns the film into an extended music video. There were many options for electronic artists. I'm left wondering what a Bill Leeb or a Gary Numan may have done with the same opportunity.

TRON Legacy was a film that needn't have been made. Disney showed some speculative shots of light cycles during a technology demonstration. When they heard the response the executive saw with dollar signs for eyes. But in the end, Sam fails. He does not return with his father, suggesting a third movie. I'm not invested enough in this franchise to want a third film. TRON did not warrant a sequel in the first place.

If I were Flynn and nearly died in a computer system would I willingly go back? They have mice and keyboards for a reason, you know.

Conscience of a Killer

There is a theory regarding serial killers. Even the most gruesome murderer wants to be caught. The trademark mode of operation, the calling cards, the letters to the police and the press may not be just a few strokes of the ego. These tropes may be desperate cries to stop the cycle. Granted this is just one theory.

However, the guilt of the murderer plays an integral role in literature. For instance, in Edgar Allen Poe's The Tell Tale Heart, having slain his neighbor, a tenant hides the body under the floorboards. Meanwhile, police were informed of a scream during the night and interview the murderer. The man covers up by claiming the scream as his own. During that night he hears the beat of a heart, the heart he assumes to be that of the victim. This paranoia builds and builds. He is shocked the police do not hear the sound. Finally he confesses to the crime, the beating heart to loud to ignore. It turns out the heart beat he heard was his own, a manifestation of guilt.

Dostoevsky takes a similar approach. In Crime and Punishment, a young student murders his greedy landlady with an ax. However, an innocent woman walks in and in a panic he kills her as well. The guilt of this unintended murder haunts the young man, eating at his soul. Meanwhile, the investigator circle ever inward. The student meets a poor woman and falls in love. He finally turns himself in, atoning for his crimes by pursuing a Christian life and living out his sentence in peace.

The Brothers Karamazov is the story of four brothers dealing with the murder of their father. Each of the four sons has some motive for the murder save the next to youngest, Alyosha, who is pursuing a life of religion. Dmitri, The eldest son, is romantically involved with his father's mistress, and spending money liberally, seems the most likely. Ivan, the middle son, is a student and atheist whose cold logic appears to make no room for morality. It is this approach that inspires the youngest son, Pavel, an epileptic bastard, to confess to the murder. However, it is the student who feels the most guilt. This guilt manifests in hallucinations and poor health. At one point he imagines the devil speaking with him, undermining his atheistic beliefs.

Even in Fritz Lang's M, the murderer feels guilt for his crimes, or at least claims to. The spirits of the slain girls haunt his every moment, silenced only when he is in the act of pursuing, molesting, and killing. In his breakthrough performance, Peter Lorre brings a pathos to what is really a hateful, cowardly character - a child murderer. Whether the guilt he admits is real or not is left for the viewer to decide.

If we train our conscience well it will kiss us as it bites - Friedrich Nietzsche

Im Rhythmus Bleiben

Rhythm plays a vital role in music, dance, and the martial arts. It features in sport as well. Little chance has a rowing team if the stroke is off. Even the sexual act enjoys some rhythmic motions.

So, what is rhythm? Looking at it musically, rhythm is the number of beats to a measure. A waltz is defined by three beats to a measure, the tell tale one-two-three one-two-three we know so well. Behind the complexities of the baroque music of Chopin a trained ear can still distinguish those same three beats. Even :wumpscut: released a waltz as the track Maiden. A waltz suggests a fluidity which is reflected in the spiraling dance sharing the name. A waltz can be smooth, and can be slow, or it can be mad. Yet, a waltz is always a waltz in the end.

Four beats to a measure is also known as 4 on the floor. It is the basic beat for most rock & roll. The one-two-three-four features in pop, rock, metal, punk, you name it. What distinguishes one genre from the next may be the backbeat, or the kind of percussion used. Tempo also plays a part. For instance, metal uses a lot of triple kick drum while goth often employs wooden percussion or a snapping snare. Meanwhile, industrial music has featured metallic percussion while electronica may use a simple digital effect. The 4/4 beat is very structured, yet still provides for a wide variety of musical techniques.

The 5/8 beat is very rare indeed. Since it sounds quite awkward comparatively, only the most experimental of artists try their hand at it. For instance, Einsturzende Neubauten. This is true also for 7/8 time, which has been used by the likes of Sting. Meanwhile 6/8 and 8/8 time, for those who know their fractions, are not a far cry from 3/4 and 4/4 time.

So rhythm is a number of regulated beats within a set measure of time. One can see how this may translate to sport, fighting, or the sexual act.

In sport, rhythm effects rowing, cycling, running, gymnastics, skiing, ice dancing, you name it. Rhythm implies harmony and harmony, balance. The same is true in the martial arts. Whether boxing or kung fu, the rhythm of strikes and/or kicks makes up certain combos. These combos are perfected through repeated exercises that they may be performed swiftly and accurately. In his movies, Jackie Chan strives for a rhythm to the fight sequences. As such, in post production the action on screen will match the soundtrack. Meanwhile, knowing the beat helps the stuntmen in staging the fight. Each beat is an attack or defense.

I needn't suggest how rhythm applies to sexuality as it seems rather obvious. I will only say that the best lovers know how to use rhythm to affect or postpone certain ends.

Weaponization

A hammer has many uses depending on the hand that wields it. It can install a shelf or it can bash in someone's head. In itself the hammer has no moral compass. Though its virtue (arete) is to drive in nails, that function can be easily applied to the cranium. So it is with many tools.

That which is first designed for a constructive purpose may have that design perverted. Look at nuclear energy. The promise was clean, efficient energy of the future. The atomic age. Yet, at the tail end of the second World War, America found itself embroiled in the war of the Pacific. Japan refused to submit. The samurai spirit drove the Japanese airmen to dive bomb battleships, it drove infantrymen to fight to the bloody end on islands that previously were just dots in the ocean. Truman made the difficult choice to drop two atomic bombs on Hiroshima and Nagisaka. Two bombs suggested there could be more. Japan opted surrender over annihilation.

The promise of nuclear energy progressed to the threat of nuclear holocaust. Soon the Soviet Union designed their own atomic bombs. The cold war placed the world in the center of a tug of war, a Western styled standoff. The bear and the eagle had bombs. If one dropped, they all dropped.

The perversion of technology into weapons of war is seen even earlier. The Nobel prize gets its name from the creator of dynamite. The explosive originally featured in construction. No longer had man to chip away at mountain sides. Drill a hole in the granite, place a few sticks in, then ignite the fuse. It did not take long however for dynamite to fall into the hands of bandits and bank robbers. Dynamite features as the weapon of choice for labor union activists. The railroad industry notoriously overworked and underpaid their workers. The Chinese suffered most, having been hoodwinked into the promise of the American dream only to find themselves dangling in a basket over a cliffside with a stick of dynamite in hand.

Weaponization features in the medical field as well. The same technologies used to develop a vaccine or an antivirus are used to develop biological weapons. The Resident Evil series centers around the T-virus. It's original use was medicinal. Soon its darker purpose was exploited. What once was meant for healing the sick now animated the dead. The virus spread, reanimating the victims of zombie attack. Resident Evil takes weaponization as an overriding theme. The T-virus and its offshoots are characters in their own rights, driving the story arc and influencing the behavior of the various characters.

Iron Man vs. Iron Curtain

Stan Lee created Iron Man during a turbulent time in America. 1963 saw an emerging culture war between conservatives and radicals. The civil rights movement was building as the stage was set for the Vietnam War. With the help of writer, Larry Lieber and artists Jack Kirby and Don Heck, Stan Lee created a character that defied everything the youth movement aimed for. Lee took it as a challenge to see if you could design a hateful character and still make it a success.

Tony Stark embodied everything young America stood against. He was made to be a cold war icon, America's defense against the Soviet Union.

A wealthy industrialist, Tony was a far cry from the bohemian artists, beatniks, and flower people of this era. Tony is very much the capitalist. He buys and sells things. Manufacturing those things is his role in life. This includes everything that comes with capitalism. Supply and demand. Advertising. Competition. Buy outs. Investment. During a generation that turned a wary eye towards wealth, Tony's excesses were just that, excessive.

Moreover, Tony Stark is a hawk. He is pro war. He designs and sells weapons to countries, weapons with the very specific goal of eliminating life. These weapons are aimed primarily at socialists that threaten the free market system Tony represents. In short, Iron Man employs capitalism to defeat socialism.

Ayn Rand keeps making her appearance in this blog. Tony Stark is not that far off from a Gail Wynand or Roark type of character. Tony Stark is a self mover. He is self sufficient. An inventor, he designs the product he sells. He is creator and salesperson in one. He is Stark Industries. Furthermore, he is the epitome of narcissism. Most heros keep their real identity secret. Not Tony Stark. Not content with passing by the publicity and the acclaim, he admits to being Iron Man. The two are synonymous. Based loosely on Howard Hughs, Tony Stark has his eccentricities. He has also had many loves. Indiscriminate sex is just how he rolls.

Despite what appears to be a checklist of things young people hate, Iron Man had gained considerable popularity. As far as superheros, he has received the most female fan letters. Self confidence, intelligence, and wealth speak volumes when it comes to attracting the ladies. But that is not all. Consider his injury, a wounded heart. The metaphor is clear. Here is a great, yet vulnerable man. The technology he builds to protect the world also serves to keep him alive.

However, Tony's rather unique independence caused concern over the years. He founded the illuminati, a society of superheros originally formed to make the various heros answer for their actions. Ironically, Iron Man also went on a rampage, destroying everything based on his tech, including the S.H.I.E.L.D. Mandroids. Furthermore, Tony Stark pushed for the reinstatement of the registration act that led to the Marvel civil war.

Tony is quite the conundrum, having been the head of The Avengers, having been an inquisitor, having been a drunk, having been a soldier for peace. Yet, basic elements of the character remain throughout. At the root of it all he is a playboy industrialist in a shiny, armored suit.

Muscle vs. Mental Memory

So as you may know, the wife and I are fans of the TV show, CHUCK. We well loves it. However, there is an element to the show that struck me just recently. With version 2.o of the intersect, Chuck Bartowski is able to upload martial art techniques. This is a great boon to any spy, surely. It has saved his life and the life of his friends on more than one occasion. Yet, how does it work?

Anyone who has studied a martial art knows that the physical routines are important. There is a reason martial artists practice kata again and again. A kata is a battle against an imaginary opponent wherein the martial artist performs his or her arsenal of fighting techniques. This develops muscle memory. Muscle memory is the basis behind why you never forget how to ride a bicycle. Your body learns about balance, extension, contraction, fluidity of movement, resistance, and so on. Both athletes and dancers rely greatly on muscle memory. Without it could their bodies do the things they do?

The Chinese say you must taste the bitter to learn kung fu. Americans call it building character. Others say you must suffer for your art. No pain no gain.Physical training is a part of learning a martial art. Whether stretching to improve flexibility or climbing stairs to build endurance, a good deal of time and effort must be invested in order to develop one's body.

So how can one leapfrog this step? Has the mind such dominion over the body that it can dictate muscular strength, control, and speed? The tabletop role-playing game, Cyberpunk, also features a skill chip that, when inserted into the computer brain, grants the user martial art abilities. However, in this case much of the rest of the body is cybernetic as well. If your neural network has been replaced with wires and your muscles replaces with synthetic duplicates it stands to reason that muscle memory no longer applies.

Yet, somehow, Chuck is able to bypass this essential step. Or perhaps I'm judging to harshly. Perhaps the intersect grants Chuck only those abilities his body can handle. He is an IT professional. His typing speed may very well be quite high. Furthermore, a fan of video games, his hand eye coordination may be considerable. Playing the guitar could very much fit in with his natural ability. Why not the martial arts as well? Perhaps if he were in better physical fitness his kung fu would be all the more outstanding.

It is something to ponder, but nothing that keeps me from enjoying the show.

Telephoto vs. Wide Angle

There are two ways to perceive the world we live in. One can take a very narrow, yet focused look - a look of pinpoint precision. On the other hand, one can step back and look to the horizon, taking in a glorious panorama. These methods of observation are closely related to photography, namely the use of the telephoto and wide angle lenses.

THE TELEPHOTO LENS

In the TV show, Bones, Agent Booth refers to them as squints. They are scientists that look closely at an object. Experts are experts for a reason. Simply stated, they know what they are looking at. They notice the finer details. Why is the remains that of a woman? Notice the aspect ratio of the pelvis. Notice the structure of the skull. Where some see only a skeleton, an expert sees the remains of a Chinese woman with an iron deficiency.

By limiting our scope, we can narrow our focus like a laser. This relates to personal tastes as well. Imagine the Trekkie or Trekker. Star Wars may be okay, but it doesn't really interest them. They live for Star Trek. They know each line, each episode title, each gaff, each set piece, each inconsistency. Music fans, too, may hone their senses to a more narrow genre of music. Look at the thrash metal fan, the gothic rocker, the American hardcore punk.

The benefits of a telephoto perception is that one knows an awful lot about a particular subject. The person is a specialist of sorts. The liabilities are that knowledge of other topics must be shoved aside. Time and effort that could be used to appreciate other things is not to be wasted. That time, that effort are devoted to the subject at hand, the main topic if you will.

THE WIDE ANGLE

If you want to capture the whole image that you see before you then use a wide angle lens. The wide angle perspective steps away from the individual subject to see how it relates to the whole. How does Star Trek relate to science-fiction as a whole? How does the death of this person relate to the investigation of this crime? How has thrash metal evolved from its roots in Black Sabbath and Led Zeppelin?

This person takes in a wide assortment of information, but a lot of it is quite generic. When stepping away from the subject, some of the finer details are lost. We forget actors' names, we forget episode titles, we forget the sequence of events. We deal in the basics, the fundamentals, the outlines. As such, one becomes, as they say, a Jack of all trades and master of none. There is no expertise, only a broad collection of common knowledge.

The two systems of thought stem from the taxonomy of perception. Just as in the classification of animals, the classification of ideas attributes to the generic and the specific. Generic knowledge is the wide angle. Meanwhile, the telephoto approach is more specific. Neither is more or less valid than the other. Indeed, the two must work in tandem. Otherwise knowledge fails to serve. Specifics have no use unless applied to a general construct. What has the weight of the cadmium atom to me? Now, add the battery cell and its relationship to the world is more clear. Meanwhile, generals mean little without specifics. What is a battery without the specifics of the chemicals involved?

The telephoto/wide angle pairing appears in other forms. For instance, in the martial arts aggressive styles often take a telephoto approach. There exists a tunnel-vision like focus upon one enemy. Attacks are linear and direct. Meanwhile, defensive styles take a wide angle view. The person is aware of attacks from all sides.

Usually we are able to slip from one perspective to another, but in some things we may be locked into a certain perspective. Perhaps we fail to see the finer details of a situation. This could be in relationships, at work, or in art. At other times we may fail to see past the finer details and thus lose out on the overall theme.

The Social Amoeba

So how is a human being like an amoeba? Amoebae represent what we think of a single celled life form. While amoebae may seem simplistic, they are for more complex than appearances suggest. For one, they possess one hundred times more base pairs in their genome. Even so, amoebae seem to live for one one purpose, to eat. The pseudopod reaches out, embraces a hapless microorganism, constricts, kills the cell, absorbs its nutrients, and excretes what is left.

Humans, too, absorb and assimilate and consume whatever crosses their path. What is not wanted or needed is discarded by the wayside. Consumer society is replete with those who purchase, use up, and toss aside.

Yet, the likeness does not end there. Amoebae respond quite dramatically to osmotic pressure. In salt water, the amoeba becomes isotonic, shrinking as water is excreted from the cell. On the other hand, is fresh water the amoeba becomes hypotonic, swelling in size and in some cases bursting.

In social circles, human beings respond similarly. When we enter into an environment we consider weak, we swell with pride. As an expert, what we know of the topic of discussion provides an advantage. This allows one to speak freely and with confidence. One must be guarded, however. Just like an amoeba, we may overdo it, metaphorically bursting with bravado.

Likewise, when we are at a disadvantage, when everyone around us is the more knowledgeable, we shrink into ourselves. We become small, quiet, unassuming. At the very worst, we may even retreat to some isolated space. Like the amoeba, we form a protective shell and wait for the danger to pass.

However, there are those of us that, like marine amoebae, have no social equivalent of contractile vacuoles. That is to say there are those who seem unaffected by the social environment in which they happen to be dropped. When either at an advantage or disadvantage, certain people neither swell up or shrink away. They remain fixed, unchangeable. This unique adaptability serves one well in matters of discourse, neither seeming timid or prideful.

On Determination

One of the core traits of a Taurian is determination. Strength of will has its benefits. It also has its weaknesses.

Positive aspects of determination include persistence. Whether at work, at the gym, or at home, the ability to follow through on one's goals is impressive. Many couples insist that one won over the other through persistence. The first impression is not always the best. Asking someone to coffee or dinner may return a negative response, but frequent offers eventually may lead to a yes. From that first date other dates follow. The couple grows to love and appreciate one another. It is a slow burning flame, but a lasting one. Grown old, the couple look back at the first, awkward attempts at wooing with laughter in the eyes. Additionally, women like to feel wanted, to be pursued. Repeated attempts to woo a lady impressed upon her the seriousness of a man's devotion. Of course, this is a rocky road as if she feels absolutely no attraction then the man is simply and persistently annoying her. More on that later.

A determined individual exudes confidence. A confident person pursues a goal in an uncompromising fashion. Things get done. When doubt is pushed aside the path to success is clear of obstruction. The forgers of history were just as clear in their intent. The list features Leonardo Davinci, Sigmund Freud, George Lucas, Karl Marx, and Orson Wells. Visionary individuals, social realists, explorers of the mind, all develop some concept and pursue it - sometimes to the bitter end. In creating a new philosophy, an economic system, a wonder of engineering, or a movement in art the confidence to carry forward is essential. One cannot soar if one is afraid of heights.

The same traits have negative connotations as well.

A persistent person can be a danger if that person is disturbed, vengeful, or in any way violent. Imagine the scorned lover, the terrorist, the mob enforcer. Such individuals can hold a grudge for a long time. They will repay a debt in kind whatever the case, even to the point of losing their own life. Persistence in a suitor as mentioned above can escalate into obsession. When one's grasp of reality slips, to persist only leads to destruction and despair. Better to let go of desires, to forgive minor slights, to forget and move on.

The same is true of confidence. Absolute certainty serves no purpose in a twisted mind. It only leads to disaster. Look at Hitler, Machiavelli, and Cromwell. Confidence dissolves into narcism - egoism. When one's goal is global domination, deceit, or genocide, the absence of doubt equates to the absence of guilt. Second thoughts prevent the pursuit of twisted ideals. In short, confidence aids the righteous or inspired man and leads the others to ruin.

In sum, what serves one may lead to well earned success and another to mass murder. The traits of determination are the same. Only the ideals set the two apart.

When Love and Death Embrace

Throughout literary history, even extending down through oral tradition, love has been associated with death. The two concepts intertwine like a worm around a rose, one feasting upon the other. Just take a studied look at stories throughout the ages and you will find love and death embracing.

LITERATURE
One of the earliest meetings of love and death in story form took place on the stage. In Oedipus Rex, Sophocles has the title character kill his father and marry his mother. His mother, Jocasta, knows that Oedipus is her son and marries him anyway, even begetting children with him. When Oedipus realizes what he has done, Jocasta cannot bear his grief. She retreats to the bedroom and hangs herself. Oedipus is so distraught that he gouges out his own eyes, claiming that a blind man sees the truth more clearly than he.

Shakespeare, too, explores this dark side of love. In Hamlet, Ophelia is driven to madness by Hamlet's peculiar displays. No longer able to cope with his drama, she drowns herself in a river. We all know how Romeo and Juliet ends - with each committing suicide. The young lovers would rather die than live without one another. In Othello, Iago fills the king with such jealous rage that he kills his queen. These three examples show the broad range of how death follows love. Death is brought on by despair, loneliness, or jealousy.

Novels are no different. Love and death are frequent partners. Tragic love stories abound, usually centered around obsession. The tragic love story, just as in the stage play, ends in murder or suicide. Consider The Collector by John Fowles. A man is driven by obsession so far as to abduct the woman of his desire. He keeps her in the basement. His attempts at seduction fall flat. Finally she concedes to his advances only to attempt an escape. Her failure ends in death. The man simply moves on to his next obsession.

Poetry, too, follows love to the bitter and tragic end. Lord Byron is but one example. His poems drip with obsession, desire, and forbidden love. Although this results primarily in exile, sometimes it ends in death. El Cid, an epic poem from Spain pits the love between characters and one's sense of duty. If you are in love with the princess how can you kill her father, the king? The conflict between love and duty is a motif in many stories.

FILM AND TELEVISION

It is no surprise that love and death would make the transition from the page to the big or small screen. Gothic horror plays with the pair quite well. The Phantom of the Opera, The Bride of Frankenstein, and The Creature from the Black Lagoon pursue obsession and unrequited love. The monster seeks love only to be rebuked. In anger the monster either murders the source of its obsession or in turn is destroyed. King Kong is a premier example of beauty killing the beast.

Film Noir explores dark obsession in less metaphorical terms. Here the woman tempts the hero, leading him astray. She uses her wiles to lead the male character to commit murder. The femme fatale is the very love child of sexual desire and death. Hers is a poison kiss. There is unlikely a better example than Double Endemnity, wherein an insurance salesman murders a man so the two lovers could share in the return from the life insurance policy.

Modern movies and TV shows carry on the traditions of gothic horror, film noir, and literary history. Daytime soaps are rife with these themes. Love and death might as well be a series title.

MUSIC

In my opinion no other medium enchants the soul quite like music. A well crafted lyric over a melody conveys a powerful emotion. Themes of love and death seem custom fit for a singer-songwriter. The darkwave scene including gothic rock attacks these themes with abandon. The loss of a loved one, dark obsession, unrequited love, no one does it better than a gothic rock band. From Siouxsie's Obsession to The Cure's Pornography, from Christian Death to Paralyzed Age love and death have featured prominently.

The love and death gestalt has transcended lyrical content to interfere in the lives of the musicians. Ian Curtis trapped in a loveless marriage and in love with a reporter one day hanged himself in his home kitchen. Then there is the well known case of Sid and Nancy, a tumultuous affair fueled by drugs, alcohol, and other excesses and ending inevitably in death.

I know of know other band that weaves love and death so frequently and skillfully than HIM. Ville Valo's lyrics blend love and death so well that they become one and the same. Even covers like (I Just) Died in Your Arms Tonight and Don't Fear the Reaper contribute to his leitmotif. Take a look at some of these song titles and decide for yourself.

The Funeral of Hearts, When Love and Death Embrace, Buried Alive By Love, Poison Girl, Killing Loneliness, Heartkiller, Vampire Heart, Lose You Tonight, Like St. Valentine, Passion's Killing Floor, It's All Tears (Drown in This Love), Join Me in Death, Dark Sekret Love, Love and Cold Blood, Dead Lovers' Lane, not to mention the lyrics within less obvious titles.

Hume's Fork

Philosophers typically classify all knowledge into two distinct groups, a priori and a posteriori. The Scottish philosopher, David Hume, applied these classifications like two fronts in a war against Christianity. Hume's fork, as it is called, is an aggressive attack on the Christian belief in God. Here is how it works.

A priori knowledge is that which is true by definition. The concept is known without previous experience. Furthermore, a priori knowledge cannot be refuted. It is true always. However, a priori knowledge cannot be experienced in a real and meaningful way. What exists only in the mind as a concept does little to influence the world we live in. Definitions, geometrical concepts, and necessary conditions may reflect how we perceive the universe, but it does not determine it. That is to say that I may experience the color red in a meaningful way, say the sight of blood or a red traffic light, but the fact that red is a color is not something I experience meaningfully. This is also known as deductive reasoning.

Examples of a priori knowledge includes such tautologies as:

Red is a color.

Bachelors are unmarried.

Rectangles have four equilateral sides.

Lions are felines.

A posteriori knowledge is true by experience. An individual must witness the event first hand to determine its validity. As such, a posteriori knowledge can be proved or disproved by experimentation. If I tell you the streets are wet, you can look outside your window and confirm or deny my claim. Furthermore, personal experience is more meaningful than a tautology. Knowing whether or not the streets are wet may affect whether or not you drive, mow the lawn, wear a jacket, and so on. That I say all lions are felines means very little to you. Yet, if I say a lion is behind you, that is a more pressing matter. This is also known as inductive reasoning.

Examples of a posteriori knowledge are:

That shirt is red.

John is a bachelor.

This plate is square.

My cat is a tabby.

The problem Hume had with the Christian belief in God is that they wanted it both ways. Christians want to experience God in a real and meaningful way. However, they also want the presence of God to be irrefutable. Hume's fork claims that knowledge must be one or the other, a priori or a posteriori. God must either exist only in the mind as an irrefutable but ultimately meaningless ideal, or he must exist as something to be experienced in a very real way but also as something that can be proved experimentally not to exist.

Of course to accept either claim undermines faith in God. The Christian must accept God as no more than an abstract concept, or something that can be proven not to exist.

This assumes that knowledge can only exist as one of the two classifications. Immanuel Kant suggested otherwise as did Kierkegaard. There could very well be some form of knowledge that fell in between definition and experience. Also, there is the topic of faith - but that is perhaps a topic for another time.

Pop vs. Porn Stars

Soon after man learned to draw, he drew the female figure. Soon after he learned to shape clay, he sculpted the female figure. Soon after the invention of film, he photographed the female figure. Pornography has been with us since early history. Porno derives from the ancient Greek word for prostitute, or more specifically the location in which a prostitute would do her business. Graph means to write, draw, or record. As such, pornography is the depiction of sex. The content is explicit, unlike erotica which is geared more towards artistic merit. Pornography is a lucrative and long standing industry, spanning Japanese prints to Victorian novels, from erotic sculptures to glossy magazines.

It goes without saying that women in the pornographic industry sell their bodies. Merchandise advertises the actress' best or most notorious feature. Porno magazines and DVD cases show off an actresses best assets. Women known for their oral talents purse their lips or suck on a lollipop or popsicle. Biting at the end of a strawberry or other juicy fruit is another frequently used advertising technique.

Large chested adult entertainers, whether naturally so or not, wear attire that best shows off their ample cleavage. This may include corsets, dresses with plunging necklines, snug sweaters, or even just a bra. The actress poses with arms folded under the girls to prop them up or she leans forward to present a deeper valley between her ample mounds. Even the names chosen by these actresses suggests the main attraction. Letha Weapons and Kayla Cleavage are prime examples.

On the flip side, women known for a bounteous posterior (a fairly new trend in porn following the meteoric success of Jennifer Lopez) show off their best assets in short shorts, a thong, very tight jeans, sweat bottoms, and the like. Starlets the like of Katja Kassin look over their shoulder. The backside is the main focus. Although a smaller market, there remains a niche for those with a leg or foot fetish. Nylons, garters, dresses with a slit up to the thigh, these are the techniques used to sell the product. Advertising squarely targets its main demographic. Asia Carrera, for example, is known for her shapely legs.

The most glamorous of porn stars are known not for particular body parts, but for the face or total package. The most stunning and/or exotic porn stars are best represented by showing off their face. Starlets from Seka to Tera Patrick and Taylor Rain are portrayed in this manner.

So, where is this going? Well, the crazy thing about marketing porn is that, even though the product is ultimately sexual, the stars are made up as beautifully as possible. Porn stars, at least for the higher end pornographic product, go for glamour. They are coifed to perfection, the make up is professional, the clothing is well fitted and compliments the starlet's complexion. Moreover, the actress sells it. Whether smoldering or innocent, the actress is more than just a sexual object, she is a fantasy, an ideal.

Sex sells. This precept greatly influences pop music. Look at the CD covers of the various female pop stars. Before Britney Spears or Christina Aguilera, there was another Mouseketeer that moved from Disney to popular music and film. Annette Funicello grew from an innocent teen to a blossoming woman much to the delight of teen boys at the time. Following her success on The Mickey Mouse Club, she made pop recordings and starred in many beach related party films. She posed for several posters as well. Seeing her in something other than a swimsuit was a rarity.

However, one cannot address the sexualization of pop stars without mentioning Madonna. The MTV generation provided pop stars the opportunity to sell themselves like never before. In a tattered wedding gown, Madonna rolls about the place claiming she feels "like a virgin." Boys went mad for it. Madonna continued to push her sexuality whether performing as a peep show girl or dressing in male drag. By the Erotica and Bedtime Stories albums, Madonna had taken it as far as it could go. It went beyond sexy to intimidating, namely bondage videos, a song about cunnilingus, and her book titled Sex. By now Madonna's popularity had started to wane. She had gone from being sexy to just being pure sex.

Enter the second wave. Both Britney and Christina were Mouseketeers. Free of the House of Mouse, they performed pop music. Taking a page out of Madonna's playbook, both pop stars used everything they have to sell more albums. Madonna christened this change of guard with a publicized kiss on the lips to both Spears and Aguilera.

Britney dressed as a naughty school girl, complete with short skirt and bare midriff. Her songs are suggestive, consisting of titles such as Oops! I Did It Again, Hit Me Baby One More Time, Womanizer, and Lucky. Her first tactic is to sell her youth. She wears her hair in pigtails. She dons knee high socks. It proves an effective ploy as she lures an audience with a taboo blend of innocence and sexuality. What puzzles me most is the female fans that flocked to her, followed her, emulated her. Some girls do like to be popular, even if it is for the wrong reason. Observe the CD and magazine covers where she features. Note the short skirt, the sheet or towel so precariously held, the shot in her underwear, the topless lean against a wall.

Christina took an even less subtle approach. Granted she was an outspoken advocate for the expression of sexuality in women. She looked at the men-as-studs-women-as-sluts perspective as a double standard. Reportedly, her career in music was to swing the pendulum the other way. As such, Christina Aguilera often came on like a skank. Her songs include Dirrty, What a Girl Wants, Candyman, and Genie in a Bottle. Her pictures also depict her in her underwear, topless, or holding a sheet over her naked frame. Eventually Christina moved away from selling sex. She adopted the look of Hollywood glamour. During this period, she earned much respect from the entertainment media. As she looked like a lady, they treated her as one.

More pop stars come and go. The Spice Girls, Fergy, The Pussycat Dolls, Shakira, all follow the same basic formula to some degree. Each experiences a flash of success before over exposure turns their success sour. Lady Gaga enters the scene, balancing sexuality with just off the wall madness. Like Madonna, she plays with her image, toys with expectations. Unlike many pop stars, there is some talent there. She sings, plays piano, and writes music. She knows the market. She knows how to sell herself. Also like Madonna, she knows how to work a controversy, how to keep her name on the lips of media moguls. The question is, will she come to the same fate as the many pop stars before her?

So how do they compare, the pop star to the porn star?

Well, a friend of mine tweeted a joke that I feel fits this blog quite well.

What is the difference between a porno movie and a pop video? The porno movie has better music.

I would also accept that the porno movie has a point to it, but I digress. The major difference between the porn star and the pop star is that the porn star actually aims for glamour. The porn star is dressed up for the part. She is made to look as attractive as possible. Meanwhile, the pop star is made to look as sexy as possible. Usually this implies making the pop star look as slutty as possible. The clothes are matted or torn, the body is oiled or made to look sweaty, the hair is wild or matted down. The pop star looks intensely sexual. In short, the porn star looks like the before photo and the pop star the after.

This seems wrong on so many levels. A pop star whose music is mostly geared towards tweens and teens with disposable income should not be presented as sluts. This may come off prudish (especially from me) but you must admit it seems rather - well - unseemly.

Next time you are on Amazon or at your local record store, check out the CD covers of various pop stars. Next time you go to the grocers, look over the magazine covers for various popular magazines. Now, compare them to the glamour shots on the covers of Playboy, Penthouse, even Hustler. Compare them to the covers of high end porn movies. In most cases the pop star will appear the more slutty.

That is not to say all pop star go this route. Hillary Duff and Mandy Moore, though occasionally having posed provocatively, have generally avoided that sort of exposure. Then, neither has reached quite the same level of success as their counterparts. Why is image so important in what is primarily an audio related industry? Judging by a lot of the music, it seems clear that sound is not the priority.

Form and Formlessness

Form is important. It provides structure to our lives. What is a card game without rules? What would the traffic be without lanes and signs? Okay, ignore that last bit. What I am saying is that from is necessary. As children we misbehave in order to push and thereby establish our boundaries. On the job we look for organization and routine. When there is no order, work is sloppy. Deadlines are missed. Structure in a sentence gives it meaning. Form to an essay gives it logic. Form plays an important role in art. In short, form is any three dimensional object. Needless to say, form is an essential element in sculpture and architecture. The long of it is that form unifies all aspects of an artistic piece.

Formlessness also has its place. Daoists call it the unhewn log. That which has shape has been clearly defined. It has been given limits. The formless is limitless, shapeless, without boundaries. The imagination should be boundless. It is ephemeral. It is free. It is unformed. The power of formlessness lives in its potential. Unformed clay may be crafted into any shape. Once shaped, the formless loses that power as long as it has form.

Form provides us the basics. We learn our roles. Once we understand the rules, we can attempt to change them. The best writers know the English language, yet violate the rules of grammar, spelling, diction. In this manner, the form becomes formless. Form plays an importance in the martial arts as well. The martial arts of the Orient tend to be very traditional. As such, they rely upon very specific stances, postures, movements, etc. As a martial art evolves, it moves towards formlessness. The Chen family style of taijiquan depends greatly on form. Proper body mechanics are necessary to apply the fighting techniques. The Yang style is less rigid, less expansive. The Wu style is even less rigid as many of the techniques are internalized. One sees this in karate and boxing as well. Overtime the rigid stances have loosened. What was once traditional becomes freestyle. Form leads to formlessness.

Bruce lee understood the power of formlessness. A fighter should be adaptable. As water shapes itself to fit a bottle, a glass, a tea pot, a fighter should adjust for an open field, a narrow corridor, or a phone booth. Furthermore, a fighter should be ready for any situation whether one opponent or twenty, whether armed or unarmed, whether the opponent is a boxer or knows kung fu. These options are available only if one remains formless at heart.

The Glory of Gory

To borrow the tag line from the horror podcast, Gore Boy Radio, "Always celebrate the glory that is gory." This begs the question. What is it about gore that so fascinates the horror fan?

Take the average commuter. As he rides to work he passes by a car accident. Other people in the vehicle crane their necks to observe the scene. An ambulance is present. A man lay on the asphalt, a stretcher beneath him. The emergency medical technicians work apply first aid. There is a great deal of blood on the man's white shirt. The average commuter at once despises the others for their curiosity. Yet, despite his reservations, he finds himself turning an eye to the gruesome event. A similar story plays out in The Republic of Plato. A traveller returns from the seas. On disembarking, he passes a vessel returning from the war with Troy. On board are stacked the many bodies of the slain. A great sheet covers the morbid pile, yet a split in the seam reveals the bloated corpses of a few slain men. The traveller is torn. At once he knows that to look will sicken and sadden him. Yet, the curiosity is strong. Something wicked commands him to look. Finally he succumbs to desire. He looks full on at the corpses and cries to himself, "See this. Look upon this horrific sight, you fool."

Granted there are those of a petty nature that delight in the suffering of others. A series of documentary films called Faces of Death compiled a number of recorded, actual deaths and dismemberments. In the early 80s, boys at my school discussed these films with morbid passion. A man was attacked and eaten by dogs. Another was decapitated in a motor accident. Another was blown up. I felt curious, yet I never watched these films. A fan of the underground even then, something about it appealed to me. Yet, my better judgment convinced me that such films were the worst of pornography - essentially they were snuff films. I have seen actual deaths on film since then - usually in documentaries or on film. The images always convey the same sensations of disgust and sadness. Most recently, NBC showed graphic footage of the luger, Nodar Kumaritashvili, as he flew from the track and into a supporting column. The footage was unnecessarily sensational. In later segments, NBC chose not to replay the footage.

But what does this say about horror movies? Well, for one it says that we as human beings have a morbid fascination with death, particular if that death is gruesome. Secondly, we of a compassionate nature are simultaneously put off by the suffering and death of others. So, how does one satisfy the sick curiosity without compromising the soul? The answer is simple. Provide gruesome images, but ensure they are fictionalized.

Blood and gore go way back to the days of theater. The ancient Greeks applied basic techniques to imply blood. At the end of Oedipus Rex, the titular character gouges out his own eyes. As the Greeks wore masks on stage, it was a simple process to make blood seep from the sockets. The Roman's were less subtle, of course. Instead of using stage tricks, the presenters at the Colloseum would announce some historic battle, then let loose gladiators against armed prisoners. In Shakespearean plays, a simple, red handkerchief would be held to the stomach or chest tom imply a stab wound. The make up and effects have grown more involved over the years. Most notable gore scenes are, I think, the chest burster scene from Alien, the transformation scenes in John Carpenter's The Thing, the shotgun blast to the head in Maniac, the arrow through Kevin Bacon's throat in Friday the 13th, James Earl Jones' decapitation at the end of Conan the Barbarian, the axe to the chest of Scatman Crothers in The Shining, and the laser sequence in The Cube. These are only to name a few.

The average horror fan is not a violent individual. Indeed, actual acts of violence are regarded as disturbing and distasteful. As Tom Elliot of The Gentlemen's Grindhouse podcast puts it, horror acts as escapism. The horror fan knows it is fake. Yet, at the same time it satisfies that morbid curiosity. One gets to see disemboweling without causing anyone actual pain. Knowing that the gore is fake allows certain directors to use gore for comic effect. In Brain Dead, Peter Jackson uses gore for many sight gags, including a floor so slicked with blood and guts that the hero of the film slips. This same movie has the hero taking a lawnmower to zombies, the hero pursued by an intestinal tract, and an elderly woman attempting to swallow a dog. The disgust factor also features in movies like the remake of The Fly.

Other films attempt to present violence and gore in a more realistic matter, thus affecting those sentiments of compassion and disgust in the viewer. The scenes are riveting, yet cannot be called entertaining by any means. Films like Martyrs portray violence in a very real sense, thus evoking the natural response. This makes the film a difficult watch to be sure, but somehow there is a catharsis. The viewer knows the violent images are not to be romanticized or glorified. They are present to evoke true horror and disgust. Art summons an emotional response. The more artistic the film, the greater the emotional response.

Those who seek to ban violent images from film fail to see the point. The gore is there as an alternative to the real thing. Rather than seek actual violent images, the horror fan delights in practical, special effects. I studied biology is school. I have witnessed many gruesome sights. I have dissected a frog, a cow's heart, and a sheep's brain. I have seen preserved abominations such a cyclops cat and a twin headed snake. Toying with pre med, I have seen actual images of bisected human cadavers, a filmed autopsy, and images of various hand injuries. I changed my major to English. I must say I prefer the false images to the real ones.

Wu Xing

The four elements in Greek cosmology are fixed. Earth, air, fire, and water may interact, but they do not change. Together they form the whole of the phenomenal world.

The elements in Chinese cosmology are a bit different. First, there are five and not four. The five elements, or Wu Xing, consist of metal, water, wood, fire, and earth. The Chinese refer to them as the five walkings as they are not fixed. Each element flows into the next. Each is supported by an other element. One element destroys or is destroyed by another one. The relationship is quite complex and influences much of Daoist thought. In traditional Chinese medicine and internal alchemy, the major organs are related to one of each element. In taijiquan, advance and retreat, left and right, and keeping to the center reflect one element or another. The five walkings play an integral part in feng shui and divination. Also, just like the Greeks, the elements influence the zodiac. Each of the 12 heavenly animals is flavored by one of the elements depending on the year the person was born.

The elements follow the rise, fall, and transition of yin and yang.

METAL (Jin)

Like gold and silver, the symbols of this element, metal represents purity and firmness. Metal also reflects the sword and the shield. The sword is advancing and penetrating, suggesting courage and strength. The shield suggests protection, associated with the mucus membranes in the lungs and intestines. The metal personality combines these traits, being at times bold and controlling, yet emotionally guarded. The metal person is orderly and minimalistic. This person tends to have sharp, angular features. Metal nurtures water and is nurtured by earth. Metal overpowers wood and is overpowered by fire.

Color: White

Season: Autumn

Direction: West

Animals: Monkey and hen

Energy: Creation

WATER (Shui)

Water shapes itself to fit any container whether tank, cup, pool, tub, bucket, or glass. Water suggests flexibility, subtlety, and influence. Water people are cunning yet unobtrusive, making them good businessmen or thieves. Water governs the bladder and the kidneys. Water people should avoid stress, especially fear. This is ironic as water embodies darkness, the moon, night, danger, crime, destruction, and sin. However, as long as water people keep to their naturally laid back nature they should do just fine. Water is deep and constant. It supports wood and is supported by metal. Water overpowers fire and is overpowered by earth.

Color: Black and blue

Season: Winter

Direction: North

Animals: Rat and pig

Energy: Influence

WOOD (Mu)

Wood embodies not only trees, but the wind that blows so noticeably through their limbs. Wind travels long distances and touches nearly everything, suggesting interaction. Meanwhile, trees are firmly rooted to the earth and stand tall, suggesting a strong moral center and self-confidence. The wood person is open and honest. Furthermore, he or she is quick to offer support. Yet, however charitable the person may be, he or she retains an innate talent for making money. Wood governs the liver so this personality should avoid fits of anger.

Color: Green

Season: Spring

Direction: East

Animals: Tiger and rabbit

Energy: Interaction

FIRE (Huo)

Fire attaches and consumes. Furthermore, it exudes warmth and light. Fire represents intelligence. The scholar searches for knowledge, clings to it. The fire personality makes a good scientist. He or she also makes a natural leader. Fire is aggressive and dynamic. Fire is also passionate. Exploration, innovation, and adventure are its goals. Fire governs the heart, making the personality prone to drama and romance. Although forceful in aspect, fire personalities are generally happy and outgoing. Fire supports earth and is supported by wood. Fire overpowers metal and is overpowered by water.

Color: Red

Season: Summer

Direction: South

Animals: Horse and snake

Energy: Attraction

EARTH (Tu)

Earth embodies the dark, soft, and feminine aspects of yin. Earth is yielding and patient. It is also nurturing. These combined traits not only suggest motherhood but hard work as well. Earth is workmanlike, the image that of a farmer tilling the soil. Earth governs the spleen. Earth personalities are prone to digestive problems. Physical strength and endurance are other aspects of earth. Overall this element represents stability. The earth is walked upon, spat upon, you name it. However, it does not complain. It simply continues to support us. Earth supports metal and is supported by fire. Earth overpowers water and is overpowered by wood.

Color: Yellow and brown

Season: Transitional

Direction: Central

Animals: Dog and ox

Energy: Stillness

Support in the five walkings refers to the generation or transfer of energy. Qi flows from one to another in a transitional capacity. Metal when left out over night forms dew in the morning. Droplets of water dot the surface chain link fence in your yard. Water is absorbed by the roots of a plant giving it sustenance. Wood, when dried, fuels a campfire. Fire, in turn, turns to ash. Fire replenishes the earth.

Overpowering in the five walkings refers to how qi is obstructed or destroyed. A metal ax chops down the tree. Wood draws nutrients from the earth. Growing into a tree, wood splits stone. Earth shapes the banks of a river. Sandbags prevent flooding, thus limiting the flow of water. Water, when poured over a fire, extinguishes the flame. Fire, in turn, is used to melt iron in order to refine and shape it into steel.

These relationships apply within personalities as well. Earth is stubborn and thus overwhelms the influence of a water personality. Fire is a natural leader and provides much needed guidance for the industrious earth personality. Honest and open wood conflicts with the guarded and private metal personality.

The five element theory applies to all manner of situations, illustrating the fluctuating, yet constant, nature of qi. It is the interaction of yin and yang that forms the five elements. The five elements form the eight directions. The eight directions dictate the 64 situations of the Yi Jing. The 64 situations divine the myriad of changes. When yin shifts to yang or yang to yin, one's fortune may be auspicious or inauspicious. Familiarity with the five walkings will aid one in one's travels to know when and when not to cross great rivers.

Feminism and Pornograhy

There exists a misapprehension of feminism even among so called feminists that every woman should emulate masculine behavior in order to succeed. Women should be more aggressive, concentrate more fully on their career, and be less open emotionally. Contrarily, some feminists hold onto the classical feminine ideals of patience, compassion, and emotional openness. One camp thinks women who emulate men have turned their backs on the principles that define womanhood. On the other hand, the other camp blames women who hold to feminine qualities as just maintaining the status quo, thereby keeping women in an inferior role.

The truth is women should be allowed either option as well as anything in between. Feminism is about giving women the choice to pursue their own goals. The two camps illustrated above hurt the feminist movement by limiting or determining the role women should play. This is the very thing feminism seeks to eliminate. If a woman wants to concentrate on her career, she should be given the opportunity to do so. If this requires breaking away from traditional feminine traits, so be it. Furthermore, if a woman actively chooses to stay home and raise her family, she should be permitted to do so without being judged as anti-feminist. This is, after all, the role she decided for herself.

This is the crux of feminism, personal choice as a woman. There remains many obstacles for women. Many jobs offer unequal pay and benefits between men and women. Also, the ratio of men to women declines sharply the further one goes up the corporate ladder. Fortunately the trend seems to include more women. Women are finding positions as publishers, producers, directors, and the like.

With more women being accepted in high profile positions, roles that are regarded as antifeminist are under greater attack. The adult entertainment industry is largely blamed for objectifying women. In many cases, this is true. Desperate women are exploited. However, what of those women who actively pursue this career? Take for example the adult film star, Julie Ashton. She has appeared in over four score adult movies. She has written, produced, edited, or directed one adult film or another. She has hosted on Playboy television and is a lobbyist for the pornographic industry. There is no doubt Ashton looks at pornography as her career.

She is not the only feminist in porn. Various cam girls, actresses, models, strippers, and burlesque dancers hold similar views as Ashton. For some, it is a way to celebrate sexuality while making money. Others view pornography as education for adults, a means of introducing sexual possibilities to a consenting adult audience. Still others regard exotic dancing or modeling as an art. I believe it was Ashton that mentioned how she found greater respect from the men on a porn set than on that of a television of film studio, suggesting sexual harassment as being more prominent outside the close knit porn community.

Of course there are exploited men and women in pornography. The stories of Linda Lovelace and John Holmes are just two of many tragic examples. As with anything, the good or the bad depends on the circumstances of the individual. The best one can do is respect the choice that individual makes. After all, feminism is all about individual choice.

On Satire

Satire is a means for making the ridiculous stand out, often by carrying an argument or opinion to the extreme. Although used primarily for comedic effect, the goal of satire is to expose some perceived evil, often that of an opposing viewpoint. Thus, satire often takes the form of a polemic. In some instances the satirist will assume the position of his or her opponent in the form of a parody. Parody proves effective if performed straight or as pantomime. However, although playing it straight adds gravitas, there is a danger of being take too seriously. Straight parody often goes over the heads of the more ignorant.

SATIRE ON THE STAGE

The pen of the playwright is often the tool for insurrection. Aristophanes, author of many of Ancient Greece's famed comedies, is regarded as one of the best satirists. In The Clouds Aristophanes turns his critical eye to philosophy. The plot involves an indebted father who enrolls his son in The Thinkery that he may learn rhetoric and defeat their accusers in court. A little knowledge is a dangerous thing, however. The boy learns instead to turn his back on social customs and moral behavior. Following an argument, the boy batters his father. Outraged, the father burns The Thinkery to the ground. Aristophanes portrayal of philosophers, Socrates in particular, was pointed out by Plato as one of the leading causes of Socrates' subsequent trial and death. Socrates indictment was that of corrupting the youth, an accusation that mirrors his character in the play.

SATIRE IN POETRY

Roman poets Horace and Juvenal are to satire what Plato and Aristotle are to philosophy. Horatian satire is light hearted, often poking fun at one's own vices. The goal is to provide insight in dealing with social problems. Juvenalian satire is often bitter. It is caustic in the way it shines a spotlight on some social ill. It seeks to ridicule. Satirical poetry had a considerable run during the 18th century with such poets as Dryden and Pope at the quill. John Dryden is famous for his mock-heroic satires, particularly MacFlecknoe, an attack on the poor literary sensibilities of his contemporary and rival, Thomas Shadwell. In a word, Dryden paints him as dull. Sadly, libel laws have nearly put an end to the polemic poem in England.

SATIRE IN ESSAY FORM

The direct and formal nature of the essay makes for a good polemic. Yet, because of the serious tone in most essays, satire in essay form is easily misconstrued. Take for instance Jonathan Swift's famous essay, A Modest Proposal. In it Swift suggests that to end poverty and starvation in Ireland you need to introduce but one policy, eat babies. In this regard, you cut down on the population, feed the starving, and cut costs of raising children. The number of complaints from people who took this seriously is staggering. In his essay, Swift meant only to bring attention to social ills. When writing a satirical essay it is perhaps best not to overestimate one's readers.

SATIRE IN FICTION

The novel and the short story present ways an author can introduce satire in narrative form. Children's literature, strangely, serves as one of the best options. Carrol's Alice in Wonderland and Through the Looking Glass contain several elements of satire. If one looks as the red and white chess pieces as political figures, the satire comes through. The Red King and Red Queen represent conservatives. They are combative and accusatory, the Red Queen often shouting, "Off with her head!" This iron grip and war like attitude is typical of republicans. Then you have the White King and White Queen that represent liberals. The White Queen is anxious and flighty. She means well, but is utterly incompetent.

SATIRE IN SONG

For those who could not read or write, the song proved a welcome tool for satire. As such, satirical songs were prominent in the Middle Ages. However, even the literate lace songs with acerbic wit. Voltaire (the musician, not the philosopher) has written and performed many satirical songs. One of the most blatant and scathing is "Bomb New Jersey." Voltaire grew up in New Jersey and suffered the abuse of the many, ignorant people there. Being goth and having a hot girlfriend did not help matters. Voltaire takes revenge in this anthem. "God Thinks" addresses the hypocrisy of those who claim to know the wishes of God. "Mr. Irresponsible" is an attack on those who live with little regard for the environment.

SATIRE IN FILM

Parody plays well on film. The Marx Brothers and Charley Chaplin have used the Silver Screen to knock the legs out from under the haughty-taughty. The latter also displayed the life of the unemployed during the depression, characterized by his lovable, yet hapless tramp. The Great Dictator is Chaplin's attack on Hitler and Mussolini. When the film was made, they had no idea of the atrocities that had been committed against the Jews. In retrospect the tone of the film seems a bit light and frivolous.

SATIRE ON TELEVISION

The immediacy and the regularity of television makes it a good source for satire. From very early on the sketch comedy show, Saturday Night Live, offered comedy writers a timely shot at bad politics. Spoofing presidents has been a long standing tradition. SNL also features a fake news segment called "Weekend Update." The fake news banner has been taken up by Comedy Central in The Daily Show with Jon Stewart and The Colbert Report. In the Colbert Report, Stephen Colbert takes on a conservative persona, a construct of Fox News reporters Sean Hannity, Bill O'Reilly, and Glenn Beck. As parody, Stephen emulates their "journalistic" style, only going the next step into the ridiculous. Often he has no need to as whatever the originals may say need only be repeated, as it is already ridiculous.

The Suit of Swords

So Saturday was a bit crap for me. Today less so. So what better way to commemorate a dark mood than a dark theme? In episode 30 of the InsideOutcast I touched briefly on the suit of swords in the tarot. The suit of swords in divination contain many of the least auspicious cards outside the major arcana. The minor arcana reflect several castes within society. The swords represent, of course, the military class. Less obviously, the suit of swords identify royalty. Conflict is the central theme of the suit. Each suit corresponds to on of the four elements, the swords corresponding to air. Each suit also corresponds to some aspect of human nature. Swords reflect cognition. The appearance of a sword card in a reading could indicate some mental process. In the Osho Zen Tarot, swords are replaced with clouds. Clouds, like thoughts, are fleeting. They may darken your day, but will blow away over time. In the WIlliam Blake Tarot, swords are swapped for the suit of science. Science uncompromisingly displays the thought process. And with the general information now out of the way, let us consider the individual cards.

THE ACE OF SWORDS

By far the most positive of the sword cards is the ace. The ace of swords suggests action and initiative, like the drawing of a sword. Other meanings include mental acumen, a resolution to a problem, fairness in dealings, and uncovering the truth.

TWO OF SWORDS

When two swords cross, you have a stalemate. Evenly matched, neither dares make the first move. When progress is blocked so, too, is the path to truth. When faced with an opponent on equal terms, one shows no emotion lest it belie one's true intent.

THREE OF SWORDS

Three is a crowd. When three gather, surely two will engage in conversation leaving out the third. As such, this card embodies loneliness, heartbreak, and betrayal. The betrayal aspect can go either way, suggesting the subject of the reading may be a traitor.

FOUR OF SWORDS

Four is a lovely and sound, Greek number. It is uniform and solid as a square. This mathematical harmony finds its way into the meaning of this card. The four of swords is one of the few positive meanings, a period of repose. In U.S. Military terms, the four of swords suggests a period of R and R, rest and relaxation. It also reflects a time of quiet reflection and preparation.

FIVE OF SWORDS

The fifth in the series is like the second, only more complicated. The card suggests discord. In a military sense, the card reflects dishonor. In a more general sense, the five of swords suggests the very worst of acting in one's own self-interest.

SIX OF SWORDS

The sixth card usually has a neutral meaning, one of travel. If there is a negative connotation, it is one of the sadness at departure. In a positive sense, the six of swords can mean a recovery, particularly from injury, illness, or some other trauma. The meaning of this card depends greatly on the nature of the reading and the influence of the other cards.

SEVEN OF SWORDS

The seventh card is another that reflects the military nature of the suit. Seven of swords suggests cowardice, more specifically that of abandoning one's post. In a broader sense, the card illustrates the shirking of responsibility or the abandonment of a project. Other meanings include independence and isolation or acts of deception.

EIGHT OF SWORDS

The eighth card suggests impotence. The general meaning is one of powerlessness, a feeling of being restricted or oppressed. Often the card depicts a damsel blindfolded and tied to a mast or a stake, surrounded by eight swords.

NINE OF SWORDS

The ninth card illustrates the mental aspect of the suit. Doubt, worry, anguish, and guilt are the grim phantoms of the mind. The mind can be the greatest enemy, a host for anxiety and depression. In truth, mental stress only adds insult to injury.

TEN OF SWORDS

The tenth card is by far the least auspicious, suggesting desolation. Loss it total, defeat absolute. In this situation it is only natural that one feel sorry for oneself, that one feel victimized. However, there is one positive spin of the ten of swords, when you have lost everything there is nothing left to lose. Any change will be an improvement.

The royalty cards generally reflect actual people in a reading. The suit of swords indicate people of fair hair and light colored eyes. In a sense, caucasians with with blonde hair and blue eyes. As always, the suggested meaning does not always fit, so one must use judgement in determining the correct divination. There are four royal cards in each suit, each illustrating different characteristics. Multiple royal cards form pairs, illustrating relationships or doubling the influence of a certain aspect.

THE PAGE OF SWORDS

The page is often a young child or someone less experienced. Frequently the page is viewed as feminine. The page of swords represents a messenger, an envoy. Like the pages of old, she brings word of a challenge. The page is honest, analytical, forthright, and dependent. Just beware as news of any kind rarely bodes well.

THE KNIGHT OF SWORDS

The knight most often reflects a young, adult male - a teenager. The knight of swords represents direction, movement, and penetration. Depicted as a knight atop a charging horse, the card suggests sense of purpose and progression. This knight embodies the aspects of the sword. He is unfeeling, directed, uncompromising, adept, and precise.

THE QUEEN OF SWORDS

The queen is a woman of maturity. The queen of swords is usually depicted as a widow. She holds the truth above all else. As such, she has no patience for lies and no tolerance for deceivers. This queen has a sharp wit, a bright mind, and a clarity of judgement. She has a way of rooting out fools and cutting through the flak.

THE KING OF SWORDS

The king is a man of experience. The royal aspect of the suit is clear. This king reflects positive and broad sweeping influence. He is wise, fair, and eloquent. The king of swords brings order to chaos and makes sense of nonsense. He embodies those elements we regard as kingly.

The Rectangle

Nature abhors a straight line.

Look at the natural world. The horizon is a curve. The limbs of the trees are crooked and gnarled. The river snakes through the canyon. Natural shapes are organic. They are irregular.

The manufactured world is not so much. Observe in the man made world the rectangle, perhaps the most commonly found shape. Not only your collections of books, but the bookcase as well is a rectangle. The cases containing your DVDs, the pictures and the frames on your wall, the wall itself are rectangles. Your chest of drawers, the drawers in your chest of drawers, the decorative carpentry on the drawers of your chest of drawers are rectangles. Our world is in many ways defined by the rectangle. In construction we have the 2x4. At the office we have 8 and 1/2 by 11 inch paper. Envelopes, mailboxes, filling cabinets, mailing labels, credit cards, windows, doors, boxes, laptops are all rectangles.

Why is the rectangle so common in the artificial world? In geometry, the rectangle is a simple shape composed of right angles. This simplicity makes the math involved equally simple. Want to know how much carpet you need to cover your living room? Take the length and multiply the width and there you go. Ever try to stack spheres? Doesn't work. Stacking boxes is much easier. How about fitting a curved door on a residential home? Only if it is custom built.

There is a reason people say to you "think out of the box." We live in boxes. Our homes are boxes. Our apartments are boxes within boxes. Our rooms are boxes within boxes within boxes. To think outside the norm is to leave conventional thought behind. What is more conventional than a box?

So what has nature against mathematical simplicity? Well, nothing really. Nature simply has its own math and its own simplicity. But nature prefers arcs and curves. In feng shui, the dragon of the earth, that is the flow of healthy chi, travels in arcs, not lines. A clean flow of chi requires slopes and rolling hills. Experts in feng shui rearrange furnishings to soften the hard, sharp corners of these rectangular homes. Chi, when not flowing well, is known as sha. Sha is destructive, harmful chi. It follows straight lines. While chi is meandering, sha is direct. Do you live at the end of a busy street? All that sha energy from the traffic on that street is directed at your house. Long exposure to sha can lead to restless sleep, increased stress, and health issues.

So don't just think outside the box, occasionally live outside it as well. Remember, even a coffin is a sort of box.