Terra Incognita

(Edit 12/31: He may be 6 all the way in 5, with 3 moving into 5, 1w9 gut wormholing to 5, and sp/sx Fivish stacking as discussed here. I'll keep this though. At very least, the ending encapsulates a thwarted intense desire to be Avaricious).

5 Avarice between 7 Gluttony and 8 Lust

Avarice between Gluttony and Lust

(virtues Non-attachment, Sobriety, Innocence)

PART 1

Avarice (5) moves between Lust (8) and Gluttony (7). It is traditionally said to integrate to 8 and stress to 7; however in later RH 7 is the 'missing' piece of higher integration of 5. In reality 5 is an oscillation between 7 and 8 and can be thought of as the abstinence/retention between two excesses of consumption (of experience) or perhaps the privation between two enjoyments. And while 7 and 8 are usually the types most involved in the sensing world, 5 will be archetypally the least. 5 is most disembodied. To better understand the archetypal meaning of Avarice we need to look at Five's position in The Hole at the Bottom of the E. Consider this video carefully. (Really).

The Hole is the place of death and disintegration (and as such also of potential renewal); specifically we think of the 4/5 line as Bardo: 'the liminal space between Death and Rebirth'. And when one leaves this world one takes nothing with oneself, not even one's own body. But yes, in Bardo there is much Mind. In fact everything in Bardo is Mind.

So there is a very good reason for 5 to be Avaricious. 5 on the 4 wing is the soul wandering Bardo among the demons and on the 6 wing preparing itself for its next incarnation. And so it must 'do without' the things of this earth. (And so, like Two in the rejection triad 258, 5 diminishes its 'needs'). When seen as inhabiting this liminal space, it becomes very comprehensible why schizophrenic Fives and Five fixers will perceive themselves as machines, and as being instructed by machines or by aliens, as not human. Because Five is not human, because Five is no longer incarnate. Also, and very importantly, as headiest head, in this disembodied state Five is deciphering a universal code. So the perception of Self as Machine is not totally crazy.

And so in the liminal space of Avarice, while having utmost parsimony in other consumption (most rejecting of the rejection triad 258), 5 must retain the Ideas of (the) Mind. And ideas Five does consume gluttonously a la 7, and for purposes of power (8 Lust being above all lust for power)--but this at the expense of corporeal pleasures, including corporeal existence itself. And a non-corporeal existence cannot commune with the incarnate ones either. So Avaricious 5 is also most separate.

In the two videos of Laurie Anderson we see very well the movement between 7 and 8. We'll start with Sharkey's Day, an extremely Sevenish 5 video. (Yes, the shark was a 'coincidence'. I just took the first hit for that Hole kiddie song a few minutes ago). Laurie is certainly 5w4, and though this is the less 'attached' and more 'withdrawn' wing subtype it's also the Bardo 5 (in contrast to the white lab coat 5, not that she isn't essentially also wearing one). So somewhat paradoxically, 5w4 will often move more easily to 7 than 5w6, as it's already 'out there' wandering amongst the colors and 'the fishes' as we say. Whereas 5w6 is on the 5/6 "Cartesian line", with its wormhole to E1.

And so Laurie/Sharkey has a genuine gluttony for the perception of the phenomena (both phenomenal and non-phenomenal) encountered outside/inside on the journey of one ordinary day. (Here, ur-5 James Joyce's Leopold Bloom in 'Ulyesses' also comes to mind). Indeed, Sharkey is a true "Ecstatic Appreciator" (7 L1), although he is probably also stark raving mad.

And so in the video this white clown/ghostlike presence with two even more shadowy selves on either side, who 'nobody knows' , who is practically invisible (Holy Idea 'Transparency')--who is avariciously trying to fit the entire phenomenal world on the head of a pin to crack the universal code (now that's Lust for Power) in a universe where insects are on people's legs and planes are flying insects--is having a really good time. Because 'the point' is, these angels are dancing.


Sun's coming up.
Like a big bald head.
Poking up over the grocery store.
It's Sharkey's day.
It's Sharkey's day today.
Sharkey wakes up and Sharkey says: There was this man...
And there was this road...
And if only I could remember these dreams...
I know they're trying to tell me...
Something.
Ooooeee.
Strange dreams.(Strange dreams).
Oh yeah.
And Sharkey says: I turn around, it's fear.
I turn around aagain And it's love.
Oh yeah.
Strange dreams.
And the little girls sing:
Oooee Sharkey.
And the manager says: Mr.
Sharkey?
He's not at his desk right now.
Could I take a message?
And the little girls sing:
Oooeee Sharkey.
He's Mister Heartbreak.
They sing: Oooeee Sharkey.
Yeah.
He's Mister Heartbreak.
And Sharkey says: All of nature talks to me.
If I could just figure out what it was trying to tell me.
Listen!
Trees are swinging in the breeze.
They're talking to me.
Insects are rubbing their legs together.
They're all talking.
They're talking to me.
And short animals- They're bucking up on their hind legs.
Talking.
Talking to me.
Hey!
Look out!
Bugs are crawling up my legs!
You know?
I'd rather see this on TV.
Tones it down.
And Sharkey says: I turn around, it's fear.
I turn around again, and it's love.
Nobody knows me.
Nobody knows my name.
And Sharkey says: All night long I think of those little planes up there.
Flying around.
UYou can't even see them.
They're specks!
And they're full of tiny people.
Going places.
And Sharkey says: You know?
I bet they could all land on the head of a pin.
And the little girls sing: Ooooeee.
Sharkey!
He's Mister Heartbreak.
They sing: Oooeee.
That Sharkey!
He's a slow dance on the edge of the lake.
He's a whole landscape gone to seed.
He's gone wild!
He's screeching tires on an oil slick at midnight on the road to Boston a long time ago.
And Sharkey says: Lights!
Camera!
Action!
TIMBER!
At the beginning of the movie, they know they have to find each other.
But they ride off in opposite directions.
Sharkey says: I turn around, it's fear.
I turn around again, and it's love.
Nobody knows
Me.
Nobody knows my name.
You know?
They're growing mechanical trees.
They grow to their full height.
And then they chop themselves down.
Sharkey says: All of life comes from some strange lagoon.
It rises up, it bucks up to it's full height from a boggy swamp on a foggy night.
It creeps into your house.
It's life!
It's life!
I turn around, it's fear.
I turn around again, and it's love.
Nobody knows me.
Nobody knows my name.
Deep in the heart of darkest America.
Home of the brave.
Ha!
Ha!
Ha!
You've already paid for this.
Listen to my heart beat.
And the little girls sing: Oooeee Sharkey.
He's a slow dance on the edge of the lake.
They sing:
Ooooeeee.
Sharkey.
HEe's Mister Heartbreak.
Paging Mr.
Sharkey.
White courtesy telephone please.
And Sharkey says: I turn around, it's fear.
I turn around again, and it's love.
And the little girls sing:
Ooooeee Sharkey.
Yeah.
On top of Old Smokey all covered with snow.
That's where I wanna, that's where I'm gonna That's where I'm gonna go.

Part 2

So the Gluttony is 'all over the place' in 'Sharkey's Day' but where is the Lust--beyond 'just' the head of the pin? Well, the Lust is also 'all over the place', it's also 'everywhere', in the same way that the entire universe is contained in the pin. And so Sharkey is 'all over the map' inside/outside and achieves, or at least oscillates among, Omniscience, Omnipresence, and Omnipotence. The problem being, if you move too fast at 7 you lose a certain exertion of force, you're more omnipresent but less omnipotent. But if you move more slowly you exert more force but you're less omnipresent. Five tries to resolve it by dissolving into Holy Idea Omniscience, Transparency of Pure Mind. And to greater or lesser extent is doomed to succeed because that is the stuff of 5.

And in fact we begin with the mighty sun rising (over the grocery store where Sharkey apparently works) 'like a big bald head'. But Sharkey also has a big bald clown/ghost (non) head. Sharkey is both the all powerful solar god AND pure Mind.

Moving into O Superman, we have a much more serious (and a bit earlier) aspect of Laurie but we also begin, and stay with, the Sun. There are many references here and something like an entire cosmology embedded with a political manifesto, but for now I just want to point out there are several times when Laurie really draws into or focuses herself as a (rather diabolical) source of power. This starts early on at about 0'45" and in fact the whole section from 2'24" to 4'04" can be seen as such.

I also want to point out how closely related this video is to the concept of mechanized power lust, in These New Puritans' "We Want War"; also how in that video Sharkey's insects are far more terrifying.

I really intended to do a video for this project but have not been able to get to Apple or store them on this HP. So I'm going to hold off on commenting further on these videos for a couple of days, especially as I feel there's plenty enough here to learn and apply. I will also then touch on Trent, a very Sixish Five.

ps Okay, I lied. So sue me.

This was the first hit. The other one was the second.

Stewie is 5w6.

Roshan wrote: ↑Sun Feb 06, 2022 2:39 pm And so in the video this white clown/ghostlike presence with two even more shadowy selves on either side, who 'nobody knows' , who is practically invisible (Holy Idea 'Transparency')--who is avariciously trying to fit the entire phenomenal world on the head of a pin to crack the universal code (now that's Lust for Power) in a universe where insects are on people's legs and planes are flying insects--is having a really good time. Because 'the point' is, these angels are dancing.


Sun's coming up.
Like a big bald head.
Poking up over the grocery store.
It's Sharkey's day.
It's Sharkey's day today.
Sharkey wakes up and Sharkey says: There was this man...
And there was this road...
And if only I could remember these dreams...
I know they're trying to tell me...
Something.
Ooooeee.
Strange dreams.(Strange dreams).
Oh yeah.
And Sharkey says: I turn around, it's fear.
I turn around aagain And it's love.
Oh yeah.
Strange dreams.
And the little girls sing:
Oooee Sharkey.
And the manager says: Mr.
Sharkey?
He's not at his desk right now.
Could I take a message?
And the little girls sing:
Oooeee Sharkey.
He's Mister Heartbreak.
They sing: Oooeee Sharkey.
Yeah.
He's Mister Heartbreak.
And Sharkey says: All of nature talks to me.
If I could just figure out what it was trying to tell me.
Listen!
Trees are swinging in the breeze.
They're talking to me.
Insects are rubbing their legs together.
They're all talking.
They're talking to me.
And short animals- They're bucking up on their hind legs.
Talking.
Talking to me.
Hey!
Look out!
Bugs are crawling up my legs!
You know?
I'd rather see this on TV.
Tones it down.
And Sharkey says: I turn around, it's fear.
I turn around again, and it's love.
Nobody knows me.
Nobody knows my name.
And Sharkey says: All night long I think of those little planes up there.
Flying around.
UYou can't even see them.
They're specks!
And they're full of tiny people.
Going places.
And Sharkey says: You know?
I bet they could all land on the head of a pin.
And the little girls sing: Ooooeee.
Sharkey!
He's Mister Heartbreak.
They sing: Oooeee.
That Sharkey!
He's a slow dance on the edge of the lake.
He's a whole landscape gone to seed.
He's gone wild!
He's screeching tires on an oil slick at midnight on the road to Boston a long time ago.
And Sharkey says: Lights!
Camera!
Action!
TIMBER!
At the beginning of the movie, they know they have to find each other.
But they ride off in opposite directions.
Sharkey says: I turn around, it's fear.
I turn around again, and it's love.
Nobody knows
Me.
Nobody knows my name.
You know?
They're growing mechanical trees.
They grow to their full height.
And then they chop themselves down.
Sharkey says: All of life comes from some strange lagoon.
It rises up, it bucks up to it's full height from a boggy swamp on a foggy night.
It creeps into your house.
It's life!
It's life!
I turn around, it's fear.
I turn around again, and it's love.
Nobody knows me.
Nobody knows my name.
Deep in the heart of darkest America.
Home of the brave.
Ha!
Ha!
Ha!
You've already paid for this.
Listen to my heart beat.
And the little girls sing: Oooeee Sharkey.
He's a slow dance on the edge of the lake.
They sing:
Ooooeeee.
Sharkey.
HEe's Mister Heartbreak.
Paging Mr.
Sharkey.
White courtesy telephone please.
And Sharkey says: I turn around, it's fear.
I turn around again, and it's love.
And the little girls sing:
Ooooeee Sharkey.
Yeah.
On top of Old Smokey all covered with snow.
That's where I wanna, that's where I'm gonna That's where I'm gonna go.

But in Bardo not only angels dance, but also demons. I'm going to compare 'Sharkey's Day' to 'We Want War' before I delve further into 'O Superman' (and do so in text since I still don't have the Mac laptop cable).

But you first. Just think about it. The parallels are extraordinary. But Jack Barnett of These New Puritans is an [sp/sx] 5w4 (or 9w1 with 5w4 second), and while I doubt with an actual 4 fix, certainly with 3 all the way into the Hole. So it gets pretty murky down there. And in comparing the trees, the flies, and the 'nature' of mechanized nature in the two videos (Laurie's visuals being extremely important), not only the difference in stacking but the difference in fixes becomes clear. Laurie Anderson was upheld on eidb as an [so/sp] 5w4-4w3-1w9 but the Hole in Sharkey's head, the Hole that is Sharkey's head, the visible/invisible lightbulb/sun where macro and microcosm, nature and technology, flies and airplanes are one as angels on pins, is not enough of a Marianas Trench for 'double Hole activity'. Laurie is 2 fixed.


Some of these trees have been growing for years
The leaves on the floor must be five metres deep
The paths are a labyrinth or even a trap
Some tides don't turn some things never come back.
Secret recordings were made in the marsh
I bore a hole in the tree just to see
Knights dance in molecules, here's Gallahad
They're rising back up, they're rising back up.
Shadows dance back up, it's happening again
If you listen carefully you might hear them whisper:
"We hold all the secrets, we hold all the words;
But they're scrambled and broken so you'll never know"
Can't you see them floating like black ash?
Can't you feel them crawling down your back?
Can't you feel them breathing down your neck?
Sea breeze, sea breeze.

I'm very pissed off my draft didn't save. I'm going to hope I just saved it wrong and it isn't a problem with the draft function. But I don't have the heart to rewrite it right now, so I will discuss the omniscience/transparency of that big bald s/unhead, the porosity and sensorial overwhelm of Fives, 5 as receiver/transmitter of the as above, so below code, how even white lab coat Fives were doomed and destined to discover DNA, how Jack Barnes' secrets are obviously insects, etc. 'on. the air', probably tomorrow.

For now just this: the Omniscience of Five is the moment of perception where the uncertainty principle becomes circle (I meant to write certain). In that epiphany the tool of the observer will not interfere with the experiment and will perceive both the speed (7) and location (8) (omnipresence, omnipotence) of the particles of the molecules of Gallahad at the same time. But for this to happen Five must be totally transparent and to be totally transparent is, or is feared to be, death. Avarice is a survival tactic to protect the Five from this perceived fate.

Roshan wrote: ↑Tue Feb 08, 2022 9:14 pm For now just this: the Omniscience of Five is the moment of perception where the uncertainty principle becomes circle (I meant to write certain). In that epiphany the tool of the observer will not interfere with the experiment and will perceive both the speed (7) and location (8) (omnipresence, omnipotence) of the particles of the molecules of Gallahad at the same time. But for this to happen Five must be totally transparent and to be totally transparent is, or is feared to be, death. Avarice is a survival tactic to protect the Five from this perceived fate.

Roshan this is really beautiful.

Btw, I think you were right that Jack leads with the 5w4; his Sp 5w4 "castle" is the Mariana trench itself, his disembodied training grounds--for survival (Sp 5 --> Sp 8).
Also, I just can't help but sense his similarity with Ian Curtis, Rowland Howard, and Matt Bellamy. DG (as a 9w1 lead) doesn't really even have this.