Wednesday March 21, 2018

Voices lead a roving imagination — let’s call it the camera-eye — on a tour of a menu screen leading to Alice Coltrane’s “Galaxy in Turiya.”

Floating in a void, grasping at straws. I am but a mere vessel, like the “Black Panther” figure, multiplying into several semi-autonomous guises over the course of 1965 and 1966: first as the mascot of Stokely Carmichael’s Lowndes County Freedom Organization, then a second time on newsstands as a character in an issue of Fantastic Four (Stan Lee, the character’s creator, a fan of Huxley’s The Doors of Perception), only to return transformed into another political party, this time out in Oakland, the invention of Huey P. Newton and Bobby Seale. Hallucination? Spirit animal? Archetype? Fantasy? What is this product of mind that erupts synchronistically into reality, in what seems a coordinated manner — conjured, planted, determined, dreamt?

Saturday March 17, 2018

“Say something warm, say something bright,” sing the words in my head. I concentrate upon lyrics to songs from an algorithmically-generated playlist, seeking sense amid chance. That sense arrives when thought begins to throb to the beat of “Beat” by Bowery Electric.

A reveal occurs: I see sacred geometries. Mind invents ideograms — first languages, perhaps — by abstracting experiences into memory-derived essences. Picture Terry Gilliam’s animations from Monty Python’s Flying Circus. Escape from grim reality. Final thought of the day: Black Panther is thrilling in many ways, but the film’s imaginary resolution to real contradictions is one and the same with its backstory and founding premise: namely, the Vibranium-powered alternative modernity represented by Wakanda.