Cȯsꭑọ ∴ ọꭑƨȯƆ @cosmiccitizen@schelling.pt

My shibboleth is the password for everything true, moral, and beautiful. Your shibboleth is meaningless sounds that conceal your ignorance behind obfuscation.

The highest form of friendship can communicate exclusively in memes.
What the Greeks called "philia" refers to that affectionate recognition of the self in others, and much of meme culture is organized around the recognition of the self through moral friction. By presenting memes to others we are able to confess our troubles, our self-concepts, and refer these to trusted others for aesthetic evaluation. The totality expresses that play drive building through moral striving.

Remember when that Dean did that interpretive dance to R.E.M. to inform a bunch of MFA students that their COVID-era tuition wouldn't be refunded? What a display of dominance.

You need to be mischief-maxxing. You need to be training children in how to make weapons and vehicles. In your Dennis the Menace era.

I'm watching the new Avatar and I'm consistently weirded out about the Kantian questions of the panpsychism. How do the humans and the animals have the capacity to share a grammar? What does that indicate about the independence of cognitive structures from physiology?

So what G is, in terms of desire, is he's this mediator who will play underdog in all of the games of Christendom because he's so desperate to avoid the equitable fate of the Green Knight.

Everything that comes after the Castle in the third act is the story of what G wants to do with this garland. It represents, again, this third way out of sustaining life by will. Specifically, the will involved here is the will to be objectified and treated as mediator to others' desire

Anyway, the Girardian read would highlight the importance of the Castle with the Lord & the Lady near the Green Chapel. The Lord & Lady invite G as someone to mediate their romance, & they each mediate their relationship to G through different methods: the Lord captures & releases the Fox, and the Lady releases the garter. Through this you can see that their methods for their affections depend on withholding, explaining how the couple is in an affective deadlock without G.

Another word on the setting: you've got death as a phase of geronition (greenness) contrasted against the Christmas story, which is the commemoration of the paradoxical birth of the paschal sacrifice who will transcend death through death, the Christ.

The witchcraft of the green garter suggests a third way out: life sustained by human will until it becomes unbearable (such as through watching the deaths of others), until life must be renounced.

The examples of greenness given in the monologue are birth, infection, and corruption: birth following from desire; infection and corruption indicating the death of desire.

The thing is, though, I think it's better to understand Green in terms of the woolly pagan perennialism that was being driven out of Britain by Christendom: the Priest could tell you about the Trinitarian mediation of desire; the druids could tell you about the smooth cycles of geronition & death.

So the Green Knight appears in the context of this as this figure of reciprocation and equivalence. Knick for knick, blow for blow, year after year, and so on.

Later on "The Lady" will pose an interpretation of greenness that is given without any irony from the film, so I think it's basically an endorsement of the filmmakers' perspective no the greenness of the knight.

Green, in the film, is associated with perspectives that are distanced from the mediation of desire. ...