Lift up your heads o ye gates!  Be lifted up you everlasting doors!  And the King of glory shall come in! Who is the King of glory? It is YHVH of hosts. He is the King of glory!

the divine gates are beautiful, powerful, corrupt, grotesque, everything that could be said of Cormac McCarthy’s writing, which can never vary from its irreality like the orchard keeper “bobbling on one foot like some ungainly bird.” The gates lof Mccrowley are also overcome with epithets, live on adjectives.

A search for the gates of heaven in art proves practically impossible, but the gates of hell are rich beyond contentment. The modern architect has a vision of hell, but not in words. Whoever first invented the term Gates of hell, Cephas, apostle Peter, was told that they could not stand against his confession. That was before the Gates infiltrated city and church. Not only art, but poetry and architecture, government, science and academics mind the gates of hell, which are all Merrill’s Ouija writing combined. They just don’t know it. In maybe  the most important political statement ever made, Chris Hedges said, “all institutions are inherently demonic.” Such notions horrify worshipers at the altar of the state gods of literature who argue this charge is over the line of their good taste.

Athena in Gigantomachy
frieze on Pergamon Altar.

Rodin, Gates of Hell, City gates represented every authority of government for a walled city. Elders, merchants, would sit in the gates. Anything written about Rodin’s Gates of Hell is interpretation of course, easily dismissed by other interpretations which sit in the gates while the fires burn. Hell and fire are also metaphors for tyranny, torture and suffering. Different art forms see The Gates of Hell and Gigantomachy in art, poetry and architecture: Dante and Gehry, Blake and Breughel, Solzhenitsyn and Rodin.  We pursue the likeness among these to understand what they represent. Dante’s Purgatory, Breughel’s Babel and the EU Parliament. Old hat stuff.

Breughel, Tower of Babel

Nothing is so comfortable as an other-defined reality. It spares from the burden of having to decide for yourself. The beast hybrids of Dante’s Inferno devils with tails, hoofs, hands and pitchforks, as in Baskin’s woodcuts of The Divine Comedy, illustrate what has become as common as Batman in fantasy. You can play The Divine Comedy online. Internet sites make devils into games that cinema personifies.  These role models are thought harmless and irreal. Batman and the Inferno are symbols-animal hybrids made in labs that are thought not to exist, in the digital mind of the  human are justified, if they do, to lengthen life. These realities, or as it is, irrealities, are loosed upon the world.

Lou Ruvo Center
for Brain Health

Image result for Hombre de fuego by José Clemente Orozco Instituto Cultural Cabanas

Hombre de fuego by José Clemente Orozco Instituto Cultural Cabanas

So hell is revived and Dante justified. How this occurs in architecture is not a study of gargoyles, but of  distortions that occupied art from Dante and before. Mirror images of inverted hell occur the way the demon possessed Man of Fire, replaces images of the saints in the desanctified church of Orozco,  who borrows the destitute, oppressed and  sick from the madhouses and prisons of Goya. Putting such images in a decommissioned church is the same principle as Frank Gehry’s design of the Lou Ruvo Center for Brain Health in Las Vegas, making a hospital look a diseased brain. It gives meaning to diabolus but with precedent, for Gehry’s distortion mechanics obviously initiate such buildings as the Leaning House at Bomarzo.

Darwin as the Moses of Nature

The trouble with  babbling about demonic institutions is the belief that individuals  have different standards than the systems which consume them. They don’t.  Individuals are made by institutions. To  Hedges myth is a lower state than fact because science is the gatekeeper of fact. But at the gates of hell this idea of science is itself a myth. Hedges judges his biblical beginnings a little profane, even though those  Presbyterian origins exacted belief in not much other than doing good.

Hughes is as mystified of it as Hedges would be: “Why are those terrified people and farm animals fleeing in all directions?” (Goya, 287) Caught by his Harvard Divinity, those same scientists do to Hedges beloved Darwin what previous theologians did to Moses. Annihilation. Hopefully Hedges would laugh that science has deconstructed nature right out of existence.

So of all the wonder in redesigning the human genome he says, “There is nothing in science that implies that our genetic makeup allows us to perfect ourselves. Those who, in the name of science, claim that we can overcome our imperfect human nature create a belief system that functions like a religion…but it is a myth (I Don’t Believe in Atheists, 53,40). “Human beings are not exempt from evolutionary laws.”  Ho. Ho, he says that, but E. O. Wilson speaks for the trillion trillion brain cell that “we will alter human nature.” (52) against the full force of the Opiome, Trojan Horse History and Severed Head.

Dancing House, Prague    

True believers in the moral purity of science say it is a “morally neutral discipline.” Harvard fundamentalism is still doing good, but there is no moral neutrality, only a pretense of it. So even if the gates of hell are a metaphor for Dante, to us they are stark reality which when opened spew forth all that previous academes thought myth. The effort of Darwin to link “our animal natures as intractable” (Hedges, 46) is thrown out by every corporation and government agency that design how “human beings can overcome biological limitations.”  The moral protestant heritage is as far behind in this as Moses and Darwin, and is incapable of understanding that this new reality is the literal execution of  the Judgment of the World, revelation style, spirit against spirit, demon against angel, Lamb against the beast. All this as exhaustive as wished at Insight Statutes.


Bilbao (plus duck)

These metamorphoses begin with a series of distortions, as seen in the Guggenheim Museum of Bilbao and throughout the work of  Frank Gehry. We can look at it in pictures while we talk about it in words. The water distorted vision where Bilbao is a beached whale, leviathan up from undersea, is neither an analogy nor what we think.  Analogues suggested of it in statements of ill proportion suggest multi lopsided implied points of arch off center in his work, arrangement of curves and planes, lines on the verge of regularity but suggestively distorted, as Huysmans in literature, Against Nature, who cites Jan Luyken, Bresdin’s Comedy of Death: people, plants, buildings “cultivated in sacrilegious beds, in impious hothouses” (John Howard).  Breughel, the Dutch demoniacs,  The Scream, Dada, make one love the human even while it is caught by the bestial, and an acceptance of the grotesque made beautiful. Baudelaire’s dead horse skews the normal into acceptance of the paranormal, even to seek the paranormal as superior. Prophets of Distortion want to make Heraclitus its prophet, who said the river is never the same,  when in fact he is a proponent of law. The tidal influence at Bilbao reaches 15 km inland from the sea, at Bilbao’s old town.

To understand the tidal Frank Gehry, so innocuous and likeable a person, so managed, so collected,  his architectures is a marine vision seen best undersea. It helps greatly to know that he is neither Frank nor Gehry, not Irish but Polish, Ephraim some say whose father changed his last name from Goldman. Some say it was his father. Water has a greater refractive index than air, distorts and reduces focal range of a lens in the near distance by some 33 percent, with chromatic aberration (color fringing) at the edges of the image as well as geometric distortion. Werner Herzog at the bottom of the sea. Water both absorbs and scatters light. Most of the scattering is variable depending on conditions, but the absorption is intrinsic and acts as a blue-green filter, first removing red light and then the remaining colors of the rainbow.

This is a metaphor in architecture of the  overthrow of natural law  in science. The rationalization of distortion is that by looking at it many times it will lose its power to disturb and make a new normalcy. The contemplation of horror brings horror and more horror close, like the mind of genocide gets used to death. No better preparation could occur for what would be termed a supernatural outbreak, than to have it preceded by such events in art, but also to prevent it from being understood as supernatural both and natural and supernatural needed be redefined. Hence there was no supernatural in all the lone gunmen, wereweather, mind waves, just as there was no nature in the untold numbers of hybrids loosed upon the world. Gehry-Tiffany & Co. had bracelets, pendants, rings, ears, a full line of accessories to wear on the arm, “Exquisite designs by the world’s most innovative architect,” in case you’re bored. The ultimate effect of a walk in the Dada landscape at Disney Concert Hall or inside the prints of Roy Lichtenstein is sensation beyond the natural.

Dancing House in Prague portrays movement because  the windows seem to move up and down. The building sways as if two dancers were maybe drunk. All effects of distortion.

Somebody finally realized that  Bilbao was “LEVIATHAN (Whale) camouflaged by abstraction, a marine-animal aspect of the building’s representational identity…Bilbao, based on Gehry’s earlier fish projects was inspired by fish imagery, fish surfaces, perhaps even by fish structure, and obviously by fish organization—it is a piscine organism. It is organized in architectural plan like a fish, contoured and massed like a fish, has features that represent identifiable body parts of fish, and a shiny surface (metallic scales) like a fish. So, although Iovine contends, perhaps wishfully, that it “doesn’t look at all like a fish” (I especially like the “at all” part), there is every reason to believe that Gehry himself would be surprised, if not disappointed, to hear this says….” deep SIGHT.

If Bilbao is leviathan lying  beside the sea pond river, that is cause for comparing it with an image of deity after Job 41 where the analogy occurs.  Any hope of subduing him is false; the mere sight of him is overpowering.10 No-one is fierce enough to rouse him. Who then is able to stand against me? By this Frank Gehry is a theist, or maybe a poly theist celebrating the forms of incarnation in matter. How many gods are in his pantheon of earthly temples and material flowers, sublimated notions of the artificial, breasts like Alps one might say, down which the poets used to slide, “my lips shall slide / Down those smooth Allies, wearing as I go / A tract for lovers on the printed snow” (Carew, “The Rapture”), or “two foaming billows are her breasts (Lord Herbert of Cherbury), “A Description”). Of these transformations none does good except air.

Water, fire and earth seem inhabited by the many not the One, so Bilbao has better credentials as the temple of Neptune and we are back in Troy with Neptune’s machinations making the horse. The horse enters the city. The city is burned.  Babylon, Rome,  Troy, Neptune worshiped by the Romans primarily as a horse god, the Trojan horse as simulacrum of Neptune was to deceive. If Neptune hid the horse, in the horse, what hides in these?  Troy was a port and sea serpents came to rest there under the control of that god who put all dissent against the horse to rest, if rest is death for the Trojan Priest of Neptune who threw his spear against it. So Bilbao is more likely one of many global temples whose subtext is distortion, not the majority text, which is that  all is well with civilization, even its discontent, until it’s not. Lulled antibodies, Frank Gehry  prophet of this.

This water distorted vision of Bilbao as the gates of hell, as a beached whale, leviathan of undersea, with a hook in his nose, is neither an analogy nor what we think.  It is not a mirage. In refraction light as wave acts in water to disperse  light into chromatic aberration. So it is water light. The eye and the wave equivocate different kinds of seeing together. To simple rectilinear, curvilinear, pi, Fibonacci ratios, golden sections, fractal repetitions, all arithmetic challenges, it is the mind that sees not the eye. And as the mind is bent, delusions come to temples, labs, board rooms, sanctums that only such as Ezekiel (8) see, in what he calls the visions of Elohim, where elders swing their censers before idols, and images of death dress as life, inverted. The standoff between distortion and convention is a collaboration with physical forms. It works as good as the idea of self similarity, a human skew, a fractal,  a communication that finds itself untrue.  Robert Macfarlane in Mountains of the Mind, proposes any “collaboration of the physical forms of the world with the imagination of humans–a mountain of the mind”  (18, 19),is  not a mountain in fact. So Bilbao, a museum of the mind as in Pieter Bruegel, Big Fish Eat Little Fish (1556),  as a physical form collaborates with the mind.

Imaginative Not Collaborative

This is a symbol of the gate of hell where Brueghel is eating himself. All of this is going for human consumption. People have written allegories about it. The faceless interchangeable cogs of pen and ink, folly of the human, are not fish. “Out of the mouth of a large beached fish tumble many smaller fish…the land and water are overrun by fish: a two-legged fish walks off with another fish in its mouth, a fish hand from a tree, and a fish-bird flies… (Nadine M. Orenstein. Pieter Bruegel the Elder: Drawings and Prints. Yale University Press, 2001, 140). So the mountain of the mind spews little mountains and particles of dust. We don’t say mind fish are self identified fractals. Mind fish are imaginative, not collaborative, not real, but mean to show a maxim, like a faux Orc studied by a faux anthropologist  in a faux school by a faux professor eating his students shows…? Distortion is a  faux whale.  Sorry about that. This reductio is as absurd as the perception of the mountain by the mountaineer. Whether for Bruegel or his imitators,  natural physical forms are outside collaboration. Mental mountains are  imaginings. Puritan reality is crumbling. It is a nice gesture of Gehry,  the Otaku architect, to implode and distort. Whether this is a reflection or a major force of creation and destruction itself, it is not the earth which crumbles in distortion, but the mind. According to law, avalanches, landslides, eruptive wave motions are essentially a different force than what drives the mind. Is the mind natural? No. Nature is innocent compared to it. Things that fall from within the gates of hell are where Frank Gehry ended up. These decayed and bent to what Jack Lewis called the macrobe intent. Macrobial transformations. Jet engines, nuclear explosions.

University of Technology Sydney, 2014

Decay of the abstraction

The Grounds of Bilbao

From concrete to the abstract, new science asks,  what does it mean to be human, but underneath the pretty science flower question is a dead bird. Instead of poets defining the concept of human as “beyond culture,” this intelligence  hopes to replicate Einstein’s brain, and make it available on a jack drive, but first the animal is opposed with the mind, and the animal must be left behind.

Transformations, metamorphoses, distortions so called, were the essence of classics through the renaissance. Circe turned men to pigs, “like to their minds most monstrous.” When science speaks of “ceasing to be human” it is just opposite this or what happened to Nebuchadnezzar who had to turn into a beast for seven years to be sane. Ceasing to be human means to be a god, transcendence from the human.

The pretense that the human is different now because the container is remade would be due in part to its severed head. Science and philosophy sever the human from its culture and past to be remade. Visionaries imagine a future they themselves do not live in, propose a love purer and stronger than anyone ever felt, but they themselves are divorced, promise pleasures, bliss without end, greater than ever known, but by use of a drug.  Nietzsche is their inspiration to transcend both beast and man, “rope the abyss,” become a superman, but he is insane.

To talk this way is reprehensible, but not as glib as the assumptions about human identity that never question themselves. Monsanto argues that food shortage is outdated since there is so much surplus food, the only problem being to consume it all. There is supposed to be so much more food from the green revolution and the GMO world that it can be given away to the third world, except for destroying indigenous agriculture. As a new paradigm this is only outdated by its deception of false plenty. It is poison food nor REAL,  not-food for the not-man.

Corrupt regimes do not cause the lack, but hyperdrive seed stock and chemical soil make food null and void. As to justifying the crimes science commits against animals, a zero sum logic compares humans to chimps and apes in labs, saying apes don’t have the brains of a man, therefore can be consumed, as if life were a competition. But life is a cooperation.  It does not make a man better to dominate the ape. When this intelligence greater than wisdom redesigned viruses, genes and atmospheres, the men were put to death, proving minds most monstrous.

Who can doubt whether tampering with the weather is justified to save lives, unless all this altruism is a rhetorical blind to cover the opposite?  Either weather alteration might work or we will all die? Take a chance. Spin the wheel. Nobody knows if the DNA of every living organism were rewritten it might save the world! In the joust of supernatural powers the soul of the mandarin makes a deal with  Faust. Storm surges, hurricanes, earthquakes, drought, rainfall, tsunamis of Scalar techs are all species of a giganticism understood as a joke, as if “one thought it a joke when the head next to him blew off.”

Acts of science become acts of god. Manipulation done to save the planet from  warming, unless it is the cause, using global warming to justify even greater manipulations. Amazingly, in this unknown world the only agency on top of its game was FEMA, that stored 200 million coffins, and who knows how many plastic drums, refurbished WWII camps and generally did a good job finding places for refugees to be taken. They had swing sets and monkey bars in the compounds.

In other words, weather-altered American culture changed in about 60 years. You don’t have to be an intellectual to know it, just look at the physique of a world 1/3 morbidly obese by 2010. Iron City beer never looked so good or the Iron Age of Ovid. Honest iron, pleasant compared with these  Experiments.

If Circe turned men to pigs other myths turned men to gods. The most germane of these is Dante’s Glaucus, the transformed Narcissus, who found a place untouched by civilization, chewed several blades of its grass and became immortal. To describe passage from the terrestrial paradise to heaven Dante invented a new word, thought to be the first occurrence of “transhuman”(Paradiso, I.70). [see danteworlds].

Just as ordinary language is not sufficient to describe such things as Dante says, we invent a word from Coleridge to describe the metamorphoses, Opiomes. Opiomes is an imitation trasumanar built in an Opium poppy much the same way that the EU Parliament  was designed as an imitation Tower of Babel. Admittedly it is peculiar to describe science with poetry or buildings, but the vehicle serves. Dante, who invented the term said,“Transhumanizing may not be in words set forth” (Bergin), and neither can the horror this earth.

Whether it be atmospheres, animals or plants, new technologies sever from the past by releasing crossed energies of scale impossible to shield. This principle of dissociation is manipulated even in personalities who fragment into multiples when divided, to produce and release unprecedented energy. This principle of dissociative release of energy occurs in the sky, sea, earth and man.

An image search of Stratospheric Aerosol chemtrails can contemplate the results of  division. Before long you conclude the existence of wereweather. So if it seems contradictory that Operation Cloverleaf uses commercial airlines to spray 200 million tons of aluminum (+ barium,+gna+) each year into the atmosphere as an exotic weapon, but that the new reflective atmosphere turns acidic soils alkaline beneath, requiring engineering GMO seeds such as Monsanto’s trait technologies, 246 million acres (2007) of genetically modified corn and rice to withstand the chemical onslaught, and the spraying provokes catastrophic release of methane gas of the Arctic shelf, skyrocketing levels of asthma, autism, ADD and Alzheimer’s, and the nano particles easily pass the blood brain barrier, it’s all done to trasumanar.

Crisscrossed trails of science, singularity, art and literature reveal a metamorphosis summed up as the creation of a starchitect, one whose novelty of creation transforms them into idols of the architecture world. Taking the  visual Guggenheim Bilbao as an example of this belief helps identify every form. If it makes you say, “oh god,” the god’s not what you think. Other modifications lie behind the chemtrails visibility, what transhumanists call their putative god that chemtrails form and chemtranshumanists transform.

Different medias, technologies and devices make this ancient myth to modern known. These seem like inebriations, a drugged awareness that stumbles room to room. Let us call the situation an Opiome, from opium and Coleridge’s pleasure dome, implying a metaphor of drugs and architecture that built its heart and mind.


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