Erich's Strangest Art - Slideshow (from the Pratt site)

I'm very proud of my place of employment for the last 12 years, Pratt Institute. This year is also its 125th anniversary. Way to go, Pratt! When you love where you work, what can stop you? You are like a plant thriving in its soil. No hurricane can disturb you, no shockwave from and earthquake ruffle your petals. So I took the time to add my own slide show to their website, and you can see it here! dd

One Weird Moon: films by David Childress and Kenneth Anger

Herewith are two films about the moon which together I think really illuminate the high strangeness of this incredibly bizarre planet. They are by David Childress and Kenneth Anger,

"The more you know about the moon, the more far out it gets, and the less you really know!" so raves extraterrestrial archaeologist David Childress, who you might know well from the History Channel's beloved show ANCIENT ALIENS.

 

He makes a good point about how strangely the moon is situated, and so perfect in size, that it covers the sun perfectly during eclipses are very, very telling - the equivalent of an alien astronomer signature. Was the moon brought here and shaped just so ancient astronauts could view the aurora? I love his excited nasal enthusiasm,



This video is Rabbit's Moon by Kenneth Anger, which I like but never dug the soundtrack he did, which was basically an LP side of moon-related doo wop. This is the shorter version Anger re-cut in 1980, about half the length and with a different rock song-track as a present for Stan Brakhage's son. Man oh man, don't you wish Kenneth Anger was your dad's friend? Or that we could escape the hypnotic pull of that old rabbit moon? AUMmmmmm

Amy Mainzer and Her Brown Dwarfs

She may be stunningly gorgeous, young, healthy skinned and possessed of an impossible Buddha calm, but Amy Mainzer is no mere NASA spokesmodel. She knows her stuff and lays it out strong. She is NASA's Snow White, illuminating the Brown Dwarfs to come through the WISE telescope program.

Last weekend I was having a huge conscious raising DNA vibratory powwow that I thought was going to kill me but I opened up, took the storm energy and smashed my mirrors and now the whole universe is illuminated like the cry of a dawn rooster. I feel like Scrooge on Xmas day throwing money to the goose-buying street urchins. I shall save my own coughing cold-suffering inner Tiny Tim, because I am involved in mankind.

One phrase that kept coming to me again and again was 'Brown Dwarf' - it cropped up in my writing and thoughts like the voice of Allen Ginsberg reading his "Sunflower Sutra" and Bob Odenkirk acting a Buddha reincarnation writing to his metalhead old school chum, saying, of Led Zeppelin, "like the lotus, they bloom for you again and again." (Mr. Show - S4, EP5)

The radiance of a new awareness courses through me and everyone seems a glow with illumination and higher resonance, or else darkened by unnecessary attachment and murky agendas of dark agencies. One person who definitely seems aglow with calm illumination is Amy Mainzer - the beautiful brilliant star of NASA's WISE program, the Snow White to the Seven Brown Dwarf stars revolving slowly around our solar system, one of which may be what our intergalactic pineal pope hat conehead spy plane telescope calls Nibiru.... but probably not.

If she knew, though, would she tell us?

Through a Dark Symbol: Imaginary, Symbolic, Real = Rock, Paper, Scissors

There's a war going on right now, and it's not between us and them, or good and evil, it's between the imaginary, the symbolic, and the real. The reason is that the 'real' - the immediate issues of food, shelter, warm clothing, electricity, gasoline -- are suddenly 'not there' for so many of us in the northeastern U.S. after Hurrican Sandy. The 'real' really scores one when a natural disaster wipes away our access to the symbolic and imaginary. Stop signs and traffic lights no longer apply. No electricity for phone charging or modems, without the electronic umbilical to the imaginary, the 'real' slowly comes into focus. All the TV could do, for us who still had power, was warn us to stay indoors. Then came the massive clean-up and now we're moving onto elections and marathons and other quintessentially imaginary / symbolic endeavors, but for those who have not yet been able to resume their gentle electric sleep, whose sole pursuit is still the seeking of warmth, food, clothing, shelter, it must be horrific, since so little of the real remains for them to move in. They've inherited a world mostly abandoned as we live so much of our lives in 'the cloud.' Use it or lose it, reality warns. We've lost it, twice-over.

This is important to know in understanding why animals and plants exist only in the 'real' and not the imaginary or symbolic. They don't recognize themselves in photographs (though sometimes in mirrors); they seldom speak, except in a grotesque howling or barking, as if to mock us, we who have dared to leave their realm. Who's laughing now?

In the ghost shows I watch (see my mind-numbing reviews) there's the common belief that any demon would be afraid of crosses, attracted by pentagrams, repulsed by the sting of holy water. This has always fascinated me as my favorite film as a child was DRACULA (1933). Why would a vampire be afraid of a cross? Is it just the symbolic reminder, like a text message from mom coming right when you're trying to break your very first law? Is it like Michael Moore waving a picture of a slain little girl at NRA president Charlton Heston? If it works mainly as it's a blessed item, imbued with holy power, what does a priest's blessing actually accomplish? Does it leave some electro-magnetic charge too sophisticated for modern methods of scientific measurement to detect?

I think horror movies get these symbol-imaginary chains confused, probably because their writers got too much Christian conditioning growing up, so that crosses and holy objects are themselves seen as threatening through a kind of Pavlovian dread response - the mere sign of a cross makes the grown Christian writer scratch ghost echoes of his itchy wool church suit, makes his legs fidget with restless boredom. Before engaging in sex he has to cover up the crosses and pictures of his mama. To such a person, attacking or defacing the symbols directly becomes a very first chakra kind of rebellion, albeit one mired in an id-less prison mentality, like defacing a stop sign, but after you've already stopped for it.

School of the Holy Beast (1974) is an example of this, a 70s Japanese pinku wherein, amongst other things, a nun is stripped and beaten with thorny roses and then made to urinate on the holy cross. This is actually considered pretty subversive in the context of the film, but really, in the end, it's kind of silly and not very interesting. A representation of someone desecrating a representation of someone else. I ended up selling my copy on eBay. I was expecting so much better.

But then again, I went to public school.

Don't Deliver us from Evil (1968) finds two best girlfriends home for the summer from Catholic school, performing similar symbolic 'atrocities' - such as stealing holy articles from their school's chapel and even tossing out a bunch of sacramental wafers into the nearby lake. The shizz with the passing swinger/rapists the girls pick up along the way are one thing, that's human life, that's real, but their litanies and rituals with the pilfered holy items are purely symbolic. It's a very odd breech of the walls between the levels of imaginary, symbolic, real, like a picture of a fire (symbolic) burning up. It's no accident I saw my idol Kim Morgan's picture with her kneeling before a poster for the film while I was writing this and I felt compelled to smudge in some flames. 

Imagine you could see through your own image's eyes, the way characters spy in old dark houses through the eyes of an old portrait. Imagine you could see out of all reproductions of your image, all photos as long as they were of yourself, and so you would look down from gallery walls at the throngs judging whether to buy you (and force you to observe their home life in the room where you're to be hung) and out of scrapbooks and from atop fireplaces in little reproductions, postcards, TV, god knows the horrors you would see.  Is this not what we do to poor Jesus on this cross?

That sounds crazy, yet such symbol-confusion abounds in cinema, and in real life, and especially the hypocrisy of censorship: curse words, offensive gestures such as the middle finger, mean nothing outside their culture, but are pixelated out of movies that have no problem showing graphic cannibalism. Meanwhile, wrongs performed in the real world are presumably righted by other symbolic magic words ("I'm sorry"). Men live and die for one particular symbol, the "$" sign, the three digit mark, an employee makes 'six figures' and you know he's doing all right.

In a wacky 1932 movie I saw recently, THE PHANTOM, the financial jackpot everyone's been scheming and killing for in the haunted house basement turns out to consist of now worthless confederate bills. Did the crazy old lady lie when she said she had three million dollars? No. Then again, if her relatives still had that money it might be worth something as a collector's item probably a lot more than face value!

Similarly, if society falls apart, the US dollar bill will be worth nothing. Gas and cans of corn will be the new gold. We use the gold standard today, it's universal, so all our paper money is allegedly connected to some store of bullion somewhere in Fort Knox, but there's some conspiracy theories that Fort Knox's biggest secret is its staggering emptiness, which we must keep hidden from the other nations lest they see we're broke. But then again, why waste all that gold? It's just sitting there, locked deep in a vault, no good to no one. If we were led to believe it was there, it wouldn't really need to be there, hence could be two places at once.

The shiny base underwriting everything ever created by man - all unused

Undertanding the sheer nonsensicality of this all became easier for me after working at a high end art gallery for eight years. We specialized in original work by Dubuffet, Matisse, Picasso, and Chagall, mostly oils (and Sam Francis gouaches). Though generally lesser works, they were still worth a fortune by most standards. Many of them seemed to me as the artist probably dashed them out in an hour or less. The average price: $100,000. It makes no sense. Did someone like Picasso have to hold onto his shopping list, because the minute he set it down on the desk someone would grab it to sell through Christie's?

So prized was Picasso's signature that it is said that when he paid for things by personal check, the odds were that the recipient of the check would save it rather than cash it. Seeing as a simple Picasso autograph can easily fetch $1,000 today, perhaps this wasn't such an irrational decision. (...) The value came not from any intrinsic source -- it's a fraction of a cent's worth of ink on a piece of paper worth scantly more. Anything touched by Picasso becomes in the eyes of many that much more valuable. It was something that he could have used (and perhaps did use) to his advantage. Why not keep paying with checks if people aren't going to cash them. (fool.com)

Warhol's $ sign silkscreens (which his assistants made, he only signed them) showed he understood the tragic joke at the core of this symbol blindness - but does Dracula? Why would a vampire or a devil need to disgrace religious symbols if they got this cosmic joke? Would the devil create holy statues just to desecrate them? It's not very rational.

Top: Warhol silkscreen; Dubuffet Personnages 5
both on paper - est. $50-100,000. (as of 1998)

The idea of a presumably 'real' vampire or ghost stopped cold by religious iconography is only the tip of the iceberg but since we all know the drill (he runs from a cross, is burned by holy water, etc), let's use it as a springboard into this illogic: If a vampire were 'real' -- even merely within a film's diegetic reality -- why would it be cowed by an image within said diegesis, i.e. a brandished cross? We grant the makers of holy objects too much credit if we imagine that every cross on the assembly line has been somehow imbued with holy spirit power. Maybe some priest has blessed the holy water, but what if that priest was just phoning it in that day, not really delivering the required god power? Does that render all his holy water ineffective?

Just as when the head vampire is killed and all his victims are freed from his spell, does a vampire's scars from holy water disappear when the priest who blessed the fountain is found in the rectory with a choir boy? What if it's a pedophile priest waving a cross at a very decent sort of vampire, one who only targets deserving mobsters like Anne Parillaud does in INNOCENT BLOOD? Could you scare away a priest by waving a pentagram in his face?

I imagine the priest even breaking his vows one tiny bit and BooM! all his slain vampires come back to life.

Every kid in the 70s had seen most of Hammer's Dracula films at least once and we remembered Peter Cushing using two candlesticks to form a cross; so we'd all practice with holding our two fingers together to form crosses, presuming that would work on real vampires the way it did in the movies. We'd make them from popsicle sticks, pipe cleaners, anything handy, better safe than sorry, and wave them at whomever was playing the vampire to drive them off.

So.... let us consider, is defending yourself from vampiric attack merely matter of calling the vampire's attention to the cross patterns abounding within the field of his vision? Can he weasel out of his adverse reaction by not paying attention as you frantically gesticulate towards the cross shapes in the tile floor? Did vampires have to avoid checkered floor tiles? Would the cross have power if Dracula couldn't see it, nearsighted and merely needing to take his glasses off to reduce the holy gross to a fuzzy blur? If a gun can shoot through a sack cloth, can a cross repel a vampire through one's coat?

The only answer is that the symbolic is as real as the 'real' and that it is the wellspring from which the daemonic flows. On the surface this wouldn't make sense, but surface is perhaps an illusion more than even the symbolic. A deep, deep down reading leads to a lot of Sesame Street-style fun. Imagine scaring off a vampire with the word 'cross' - One ringy dingy! Two Ringy Dingy!

Behold the word!

Or what else? Why not a photo of a cross? Or even the word 'church' written on a postcard?

This would seem to stem a lot from our own beliefs, the power of the human mind. For example, as a child I was terrorized by a monster in my closet until my dad posted a sign on the door where he'd written in big letters "no monsters allowed" and they never came back. My dad didn't believe in either the monster or the power of the sign in the sense of their being 'real' but as a pharmaceutical market research analyst he understood the importance of symbolic over the imaginary, like the way placebos are so often effective medicine, or the way paper beats rock.

Ohmigod - Rock Paper Scissors = Imaginary real  symbolic: the Paper is the imaginary (the vampire and the monster in the closet); the scissors is the symbolic (the cross); the real is rock (our general well being, i.e. food, shelter, tobacco, warmth, more food, and decent plumbing and all our blood safe in our veins).  Right now in the northeast we are the rock -- reduced to pure 'real' - until our electricity is back and our lives restored. Once the power is restored, scissors and paper will once more manifest. Paper, get ready to be cut!

Why didn't I smoke? -Overpopulation, the Elderly, War, Social Security, and Reasonable Life Spans

Have you ever seen this show NOVA? I hate it so much I want to make its head explode with my mind. As a voiceover artist I have to say it's got the most insultingly smug, patronizing voiceovers I've ever heard, clearly meant to 'humor' elderly viewers the way my old friend Alan used to patronize the old folks at the home where he worked. My dad was watching NOVA when I visited him at the hospital. One episode was all about growing ears on mice and how that might lead to even longer life spans than we already have. Oh thank the lord, why should anyone have to die?

I love my dad and dreaded his passing, but at the same time I applauded his decision to refuse a $200,000. enzyme treatment that would postpone his death (cancer) by a few months... maybe. Regardless of its dubious benefits, he could have received the treatment, paid for entirely by Medicare, AKA by you, me, and our unborn grandchildren, but decided he didn't want to burden us just to suffer a few more months. He couldn't in good conscience waste our money. The doctors were pissed! No doubt they had boat payments to make. But I thanked him on behalf of future generations.

Now my family comes from a long line of cynical English and Germans, drunks, artists, witches, and WW1 German draft dodgers -- all sneerers at, and runners from, death. My great-great-great-great-great-etc. Aunt Mary Easty was hung as a witch in the 17th century Salem. (Her family kept excellent records, all now in my possession). When I was born the earth's population was 3.75 billion. Now it is twice that amount. When I was a kid, even at that relatively low number we worried about overpopulation more than we do now. So I'm always a little outraged when some documentary worries that we might lose a few billion in a plague or nuclear war. Good lord that would be great, After all, we have plenty to spare.

Three things run in my family: addiction, wit, and gallows humor. My great grandmother on my dad's side lived to 107 but practically deaf and blind, joking about wishing she'd been a smoker, as the last 20 years of her life were very very boring without being able to read or even hear books on tape (she could still talk in a perfectly measured and eerily intelligent voice). My grandmother on the same side is now closing in on 100, and is in the same boat... why didn't she smoke?

Why? Why do we prize longevity even at the cost of quality? My grandmother joked with the staff of her retirement home about going off her meds and dying a natural death and they put her on round the clock suicide watch. God forbid a woman of 98 years young even consider checking out so soon!


Social Security Reform Bill Encourages Americans To Live Faster, Die Younger

Now you might think its a Hippocratic thing but I know firsthand a lot of this comes from Medicare scamming. I used to volunteer at an alcohol clinic and if you were on medicaid, they wouldn't let you leave. They charged each patient $70 per 45 minute session of group therapy, each (in 2001) so considering there were on average 20 people per session and ten sessions or so a day that's $1,400. they made off medicare through making 20 drunks hang out with me for 45 minutes (I was not making any money) in a crumbling institutional white room. So while the medical industry sucks our future up their snouts to keep the elderly alive for a few more miserable years, NOVA cheerfully assures them death is in the process of being eradicated so we can all live... forever, on Medicare and government pensions... until the retirement age has to be raised to 90 and the voting bloc majority is so old they vote to enforce a mandatory 11 PM bedtime for the entire nation.

The only way we're going to keep health costs and pensions going in this country is if people die at a reasonable age. Otherwise -- your kids and grand kids will inherit nothing. So they buy nothing, because they're too broke from paying your Medicare bill and government pension. Why rack up another half a million dollars on Uncle Sam's tab just to keep shuffling along for another miserable 20 years? I'm not saying institute death panels, but let the old folks die with dignity if they want. I think some of them, like my granny, would dig the chance to attend their own funeral like they were Huck Finn or Robert Duvall.

In closing, fear not death. For death is part of life. But fear doctors, for they love to take our money, promising to stave off the scythe for a few more months no matter what the cost to your children ... do the math and set my granny free!

POST-SCRIPT: I wrote this shortly before my dad died and was saving it til now to make sure I felt the same way after a year. He died one year ago today, just a few months shy of his 70th birthday. He told me about the Medicare $200,000. enzyme treatment he had refused during the last night we spent together while watching, interestingly enough, Long Day's Journey into Night. My dad and I, watching old movies, love you pops! And I even got to say it before he passed, bonus.... RIP, James Kuersten. 1943-2012

Paranormal Witnesses: Inciting Welles, Inarguable Walton, Unfathomable Leir

For UFO 'enthusiasts' this is surely the best of times. There's been a slow leak in the overinflated air mattress of top secret information these past few years, due partly to so many governmental witnesses and insiders getting old and wanting to clear their conscience before the big fire in the sky comes to claim them. Keeping a secret as big as the alien presence on earth for sixty or so years is no easy feat. And you know how old people are about getting attention.

Among the alleged treasures to be found is the syndicated series Unsealed: The Alien Files which may or may not be on a channel near you and claims to examine all the recently released FBI files and etc. The issue with that of course is, as I pointed out last year in FBI Disclosure: Is that all there is... to a Circus? 

Yes, it's terrifying; the 'disclosure' has begun far to the left of the dial as I and many others have predicted. I'm betting we'll never see an official announcement bigger than the ones we've already received by generals, astronauts, The History Channel, Fox, and now the FBI. But like good sheepherders, the inner circle world leaders know you have to give the masses an out - a way they can avoid asking 'what do they want?' and 'can we stop them?' and 'are we their pets?' and just focus on the question - are they real? And that question blocks out all the others, like the wizard's curtain, and all they have to do to keep that curtain up is make every shred of evidence and disclosure at least on some level 'dubious.'Wrapping truth in lies is like putting peanut butter inside one of those rubber cones you give your dog to chew on. They know it's there, they can't get to it to eat it but they can taste it, and so they are occupied for hours, distracted from their prison of existence. 

It's only when there's no way out of facing the scary truth that the yokels get ornery.  I don't know why I haven't seen ads for UNSEALED. It's not on Syfy, but Syfy is holding its own both on the ghost front and the UFO front, with their current champion a show that combines both areas, PARANORMAL WITNESS. Last night we saw a 90 minute special episode on 'The Walton Case' - which was the subject for the film FIRE IN THE SKY



These poor guys were really caught in a crossfire and the episode lets us know that skepticism is not without consequence. Who knows how many lives have been damaged by the one-two punch of alien abduction and public attacks? The poor bastards in the Walton case all had to slink out of town and more or less disappear to escape the constant media and rube harassment. Even the sheriffs involved in the case, who insisted on administering lie detector tests to all five guys (they all passed), can't believe it's not a hoax. They show up and do the talking head interview, but they can't let go of the life raft of believing it's a hoax. It's like Santa Clause in reverse. Imagine if Santa Clause didn't come on Xmas and deliver toys, he came down and grabbed children as he pleased, and whisked them off to perform day labor at his workshop. The only way terrified  parents can get through the day is by pretending Santa Clause isn't real. People can entertain the alien hypothesis easier when they only half believe it (as I do). But when evidence is so irrefutable, enough so that it would win its case in front of any impartial jury then it triggers an irrational panic response. For evidence just remember this:



If you doubt the alien abduction phenomenon is real, concrete, actuality - then watch this week's episode of PARANORMAL WITNESS, and examine the findings of alien implant extractor Dr. Roger Leir. One day he'll be regarded much like Louis Pasteur or Thomas Edison, the man who took out the implants most doctors preferred to deny were there, and had them tested in different laboratories including MIT with the same results every time: the materials in the chip are not of this earth.




Of course skeptics will find some reason to doubt this... as if people were somehow sticking chunks of meteorite under their skin for attention, and found a way to do this without promoting infection, and found a way to power the chip by attaching some transplanted nerve endings. A child could do it! But watch PARANORMAL WITNESS and you'll see just how badly some folks need to believe it's that easy.... any 'rational' explanation, no matter how outlandish, is better than an unpalatable paradigm-shattering truth.

Whatever the reason, the skeptics need to get it out of their systems, because soon those terrified skeptics will be as outmoded as the Flat Earth society, or the Amish. As Ezekiel is my paranormal witness, we'll never be a lonely planet again.

Brakhage Blobsquatch Connection

In order to understand the appeal of cryptozoology we need to understand two things: 1) Anthropomorphism and 2) Stan Brakhage.

Anthropomorphism is the way we tend to look for human characteristics in things... our brains are hard-wired to look for enemies in the bushes - so we see demons and lions forming in the shrubbery, especially when we're tired, tripping, suffering from the flu or delirum tremens, etc. BUT is this merely the misfiring of synapses in an overheated brain or is it that our blinders are down so we see the world as it really is, rich with inter-dimensional life just waiting to manifest via nothing more than our 'seeing' it?

Then there's Stan Brakhage - underground cinema's answer to Jackson Pollock, his films are great touchstones for talking about nearly any aspect of film and art. In grasping the import of his abstract films maybe we can learn to appreciate blobsquatch videos as abstract art, recognize the anthropomorphic hallucinatory quality of cryptids as analogous to 'das ding' in Lacanian terms, the unrecovered aspect of the castrated self hiding in the products of our unconscious - either in art or in our own direct perceptions of nature.

For best meta-textual viewing of the below video, move your glasses down to the end of your nose and your face up close to the screen to see a reflection of your eyes -- if your screen allows it. You can also do this on your TV unless its a non-reflective LED. Use the first minute of darkness to line up your eyes, and try to check to see if your pupils are dilated. Keep the frame size as small as it is in this post, so that your eyes occupy a decent portion of the image:



Now you understand, do you not? Because when dealing with a crafty hominid like Bigfoot... and if you research all the available evidence there's no doubt he exists (and if you think  the idea that a global conspiracy of hoaxes and false sightings and misidentified bears spanning centuries is somehow more believable, than may I suggest it is YOU who are unscientific? Apply the Occam's razor and the most likely probability is that these creatures are real) then you are dealing with a creature who is on some level more advanced than us. We have this problem where science thinks if it can't measure something, or examine it's eating patterns, then it does not exist. But paleontology has been wrong before (i.e. the coelacanth ) and will be again.

There's a theory that Sasquatch is able to sense humans a long way off, and he's big, and fast, and maybe immortal. We've never found the bones of a dead one, so they must know how to bury their dead, or they never die. At any rate, it's baffling.... and thank god there are some things we can't explain. Once science is able to explain and label everything the world will be frustratingly stale.

That is why we can use Brakhage to understand. We should endeavor to see Bigfoot evidence as art in and of itself, as pieces of a mystery we secretly hope to never solve (rest assured if the govt. found a Bigfoot family it would be curtains for them - endless medical tests and kept in cages ala Rise of the Planet of the Apes). Instead of searching for faces and anthropomorphic recognition in all those hazy Bigfoot films on youtube, we should endeavor to see them as abstract art, ala Brakhage above. Only when we can cultivate the love of abstraction, of letting our symbolic alphabet slip away, freeing us to exist if only for a moment in the clear light of the pure real, only when we finally capture Stan Brakhage and give Bigfoot a grant to make his own films, can we actually 'solve' the mystery. Not to be too Zen, but 'we' can't solve the mystery until our 'we' is dissolved, until 'we' in a sense are made as mysterious as Sasquatch is to us now. Only when our egos and self-centered blinders-on fear bases are dissolved, our hearts are open, our doors unlocked, our guns unloaded, will Bigfoot finally come.

For this to happen, science must relax its panicked grip on the throat of humanity and let the right side of the group brain - the intuitive, psychic, artistic, weird - take over. Science is like the crazy king who cuts open the artist looking for art, who would drink the blood of a magician to learn his secrets, who would crucify a butterfly to the bulletin board cross and feel not a twinge of compassion. Those scientists must be brought to trial! Trial by monkey!!! Trial by vagueness! Trial by faith and the ability to trust intuition and inner voices at least as applicable evidence. And in looking at these videos (above and below) aren't we in a sense doing just that? Gazing into hazy images, blurs, dim traces of ghostly movement we are traveling back in time to the world before 'names' reduced the mystery of life. Isn't this what abstract art is all about, resisting anthropomorphism so that our whole structural network of language is sidestepped? Shucker loose from signifier-bound perception and be free!



And don't worry, mystery is patient. It waits for us to join it, to become part of the mystery ourselves, to let Sasquatch come looking for us for a change, let Sasquatch vainly try to capture us on film and then we will remember that he exists outside linear time. He's already seeping into our reality down the road, in our distant future, and then roaring back down the highway in rubber band snaps, into our faces.... so best learn to love not knowing, relish your position of helplessness, trust in whatever higher power serves you, but never judge others, and never kill what you can't understand. 'Dwell in possibility' and let the hairy dude in the mirror approach without fear, and shave.