Dual Image Quotes

Taking love is easy—giving it is a bit harder, for some people anyway.

I stood staring at myself in the mirror trying to reconcile dual images. I was hunting the monster that had killed my sister. I was the monster that had killed his brother.

There're twenty-four hours in every day. Isn't there enough reality in that so we can put a small portion of time aside for wishing?

I Love You" I love you... and you move the time of my life without hours. I love you in the pallid streams that travel in the night, and never finish conveying stars to the sea. I love you in that morning unpinned from the flight of centuries that fled its white ship to the water without waves where your voice and my song sadly swam. I love you in the pain without tears that tell so many nights the dream has gathered: in the sky inverted in my pupils to look at you cosmically; in the hollow voice of my noise of centuries crumbling. I love you (scream of white night) in the insomniac thoughts where in birds my spirit has returned. I love you... My love lightly escapes from expressions and routes, and goes breaking the shadows and reaching your image from the innocent point where I am grass and birdsong.

The breath had become as much a trick as breathing. Things were not dual merely, but multiple. I had become a cage of mirrors reflecting vacuity. But vacuity once stoutly posited I was at home and what is called creation was merely a job of filling up holes. The trolley conveniently carried me about from place to place and in each little side pocket of the great vacuum I dropped a ton of poems to wipe out the idea of annihilation. I had ever before me boundless vistas. I began to live in the vista, like a microscopic speck on the lens of a giant telescope. There was no night in which to rest. It was perpetual starlight on the arid surface of dead planets. Now and then a lake black as marble in which I saw myself walking amidst brilliant orbs of lights. So low hung the stars and so dazzling was the light they shed, that it seemed as if the universe were only about to be born. What rendered the impression stronger was that I was alone; not only were there no animals, no trees, no other beings, but there was not even a blade of grass, not even a dead root. In that violet incandescent light witihout even the suggestion of a shadow motion itself seemed to be absent. It was like a blaze of pure consciousness, thought become God. And God, for the first time in my knowledge, was dean-shaven. I was also clean-shaven, flawless, deadly accurate. I saw my image in the marble black lakes and it was diapered with stars. Stars, stars... like a clout between the eyes and all remembrance fast run out. I was Samson and I was Lackawanna and I was dying as one being in the ecstasy of full consciousness.

At the end of its eight-minute journey from the sun, light passes through the stained glass of St Matthias Church in Richmond, London, and enters the dual darkrooms of Jasper’s eyeballs. The rods and cones packing his retinas convert the light into electrical impulses that travel along optic nerves into his brain, which translates the varying wavelengths of light into ‘Virgin Mary blue’, ‘blood of Christ red’, ‘Gethsemane green’, and interprets the images as twelve disciples, each occupying a segment of the cartwheel window. Vision begins in the heart of the sun. Jasper notes that Jesus’s disciples were, essentially, hippies: long hair, gowns, stoner expressions, irregular employment, spiritual convictions, dubious sleeping arrangements and a guru.

At the end of its eight-minute journey from the sun, light passes through the stained glass of St. Matthias Church in Richmond, London, and enters the dual darkrooms of Jasper’s eyeballs. The rods and cones packing his retinas convert the light into electrical impulses that travel along optic nerves into his brain, which translates the varying wavelengths of light into “Virgin Mary blue,” “blood of Christ red,” “Gethsemane green,” and interprets the images as twelve disciples, each occupying a segment of the cartwheel window. Vision begins in the heart of the sun. Jasper notes that Jesus’s disciples were, essentially, hippies: long hair, gowns, stoner expressions, irregular employment, spiritual convictions, dubious sleeping arrangements, and a guru.

It is for this reason that Jung may be right in assuming that energy is a universal concept applicable to psychic functioning as well as the physical universe. Jung then describes how energy has two attributes, intensity and extensity. Extensity of energy is not transferable from one structure to another without changing the structure; intensity of energy is. By extensity, Jung is referring to the quality of the energy. In other words, he is pointing out that there is "something" that travels from one place to another when an energy transformation occurs. For example, a ball that is hit straight up carries with it energy continually undergoing transformation. It has kinetic energy and gravitational potential energy. The quantity of kinetic energy is continually transferring into potential energy as the ball rises. Thus at the top of its trajectory, the ball is momentarily at rest, i.e., with no kinetic energy, but with full potential energy. The evaluation of its quantities of energy is intensive but the qualities of kinetic and potential are extensive. The ball cannot transfer its kinetic quality into potential quality without changing its form by breaking up, for example, into parts. Similarly there is a psychic extensive factor that is not transferable. Jung's concept of extensity and intensity are forerunners of David Bohm's concept of implicate and explicate order, about which I shall have more to say later. They are also forerunners of the conceptual division of the world into objects and actions of objects: subjects and verbs. They comprise a complementarity, a dual way of dealing with experience. They are hints of the division between mind and matter, physical and psychical, words and images.

In this impossibility of reapprehending the world through images and of moving from information to a collective action and will, in this absence of sensibility and mobilization, it isn't apathy or general indifference that's at issue; it is quite simply that the umbilical cord of representation is severed. The screen reflects nothing. It is as though you are behind a two-way mirror: you see the world, but it doesn't see you, it doesn't look at you. Now, you only see things if they are looking at you. The screen screens out any dual relation (any possibility of 'response'). It is this failure of representation which, together with a failure of action, underlies the impossibility of developing an ethics of information, an ethics of images, an ethics of the Virtual and the networks. All attempts in that direction inevitably fail. All that remains is the mental diaspora of images and the extravagant performance of the medium. Susan Sontag tells a good story about this pre-eminence of the medium and of images: as she is sitting in front of the television watching the moon landing, the people she is watching with tell her they don't believe it at all. 'But what are you watching, then?' she asks. 'Oh, we're watching television!' Fantastic: they do not see the moon; they see only the screen showing the moon. They do not see the message; they see only the image. Ultimately, contrary to what Susan Sontag thinks, only intellectuals believe in the ascendancy of meaning; 'people' believe only in the ascendancy of signs. They long ago said goodbye to reality. They have gone over, body and soul, to the spectacular.

Kinship facts can be seen as simultaneously part of nature and part of culture. Kinship performed a kind of dual function ± it was based in a nature that was itself regarded as the grounding for culture, and it also provided an image of the relation between culture and nature (ibid. 198).

The transitional nature of the 1920's can also be discerned in what may be labeled a new kind of 'dvoeverie' (or dual faith), a syncretistic belief that combined peasant ways and new Communist practices in tentative and uneasy assimilation. For example, there were reports of portraits of Lenin or Kalinin turning up in icon corners and of habit-ridden old peasants crossing themselves in front of these holy images.

Weil supplants these contradictory images of God (the omnipotent willing God versus the good and loving God) with her version of Plato's dual causality. The real dilemma, for Weil, is that God is simultaneously the author of all that is and only that which is good. Her solution is to transpose Plato's dual causality of Reason and Necessity (Timaeus 48a) into two faces of God: (i) love or grace, as God the Son, the eternal self-renouncing sacrificial Lamb and (ii) necessity or gravity, as God the Father's created order of mechanical secondary causes. The distance between necessity and the Good in Plato thus becomes the distance between God the Father and God the Son in Weil, bridged by the Cross. She then offers this hermeneutical key: 'power' is always a metaphor for necessity or natural and supernatural consequences rather than a direct act of miraculous intervention. Thus, the 'power of God' (whether in wrath or deliverance) in the Bible is an existential description of secondary causes. The reality, she says, is that God is impartial (i.e., 'God causes the rain to fall on the just and the unjust' or 'Zeus's golden scales' ). 'Force' as we experience it is the mechanism (necessity) of the world (like gravity )—not arbitrary intervention. Beyond that, force is evil, because it is the opposite of love, which is consent.

The most profound religious symbols rely for their power in large part on this underlying fundamentally bipartisan conceptual subdivision. The Star of David is, for example, the downward pointing triangle of femininity and the upward pointing triangle of the male.*1 It’s the same for the yoni and lingam of Hinduism (which come covered with snakes, our ancient adversaries and provocateurs: the Shiva Linga is depicted with snake deities called the Nagas). The ancient Egyptians represented Osiris, god of the state, and Isis, goddess of the underworld, as twin cobras with their tails knotted together. The same symbol was used in China to portray Fuxi and Nuwa, creators of humanity and of writing. The representations in Christianity are less abstract, more like personalities, but the familiar Western images of the Virgin Mary with the Christ Child and the Pietà both express the female/male dual unity, as does the traditional insistence on the androgyny of Christ.43

I'm sorry I'm late." Kay smiled and didn't look the least bit sorry. "Everything takes longer then you think it does on Monday. Even if I pretend it's Tuesday It doesn't seem to help. I don't know why. Would you like some coffee?

Love doesn't change overnight." he corrected. "It can be killed or it can be nurtured. That's up to the people involved.

Filling up someone must feel very different from being filled up by someone, these feelings are not interchangeable; yet, halfway between the anus and the genitals, at the point where the powerful dual self-enclosed muscles meet and cross in a figure eight, the image men and women have of themselves do not differ.

Even if you start working on your inner growth you are always divided – in a certain way split, schizophrenic. A part of you goes on clinging to the outside image, which is cheap. One part goes on working inside, but this dual activity, which is contradictory, dissipates energy.

Schopenhauer’s metaphysics isn’t a form of dual-aspect theory, but idealist through and through: it entails both subjective idealism—the physical world of objects in spacetime existing only as images in an individual subject’s consciousness—and objective idealism—the world-in-itself being constituted by volitional experiential states.

In this hysterical phase, it was, so to speak, the femininity of man which projected itself on to woman and shaped her as an ideal figure in his image. In Romantic love, the aim was not now to conquer the woman, to seduce her, but to create her from the inside, to invent her, in some cases as achieved Utopian vision, as idealized woman , in others as femme fatale, as star - another hysterical, supernatural metaphor. The Romantic Eros can be credited with having invented this ideal of harmony, of loving fusion, this ideal of an almost incestuous form of twin beings — the woman as projective resurrection of the same, who assumes her supernatural form only as ideal of the same, an artefact doomed henceforth to l'amour or, in other words, to a pathos of the ideal resemblance of beings and sexes - a pathetic confusion which substitutes for the dual otherness of seduction. The whole mechanics of the erotic changes meaning, for the erotic attraction which previously arose out of otherness, out of the strangeness of the Other, now finds its stimulus in sameness - in similarity and resemblance. Auto-eroticism, incest? No . Rather a hypostasis of the Same. Of the same eyeing up the other, investing itself in the other, alienating itself in the other - but the other is only ever the ephemeral form of a difference which brings me closer to me. This indeed is why, with Romantic love and all its current spin-offs, sexuality becomes connected with death: it is because it becomes connected with incest and its destiny - even in banalized form (for we are no longer speaking of mythic, tragic incest here; with modern eroticism we are dealing with a secondary incestuous form - of the protection of the same in the image of the other - which amounts to a confusion and corruption of all images). We have here then, in the end, the invention of a femininity which renders woman superfluous. The invention of a difference which is merely a roundabout copulation with its double. And which, at bottom, renders any encounter with otherness impossible (it would be interesting to know whether there was not any hysterical quid pro quo from the feminine in the construction of a virile, phallic mythology; feminism being one such example of the hystericization of the masculine in woman, of the hysterical projection of her masculinity in the exact image of the hysterical projection by man of his femininity into a mythical image of woman).

Many other things relate also to this production of the Other - a hysterical, speculative production. Racism is one example, in its development throughout the modern era and its current recrudescence. Logically, it ought to have declined with progress and the spread of Enlightenment. But the more we learn how unfounded the genetic theory of race is, the more racism intensifies. This is because we are dealing with an artificial construction of the Other, on the basis of an erosion of the singularity of cultures (of their otherness one to another) and entry into the fetishistic system of difference. So long as there is otherness, alienness and a (possibly violent) dual relation, there is no racism properly so called. That is to say, roughly, up to the eighteenth century, as anthropological accounts attest. Once this 'natural' relation is lost, we enter upon an exponential relation with an artificial Other. And there is nothing in our culture with which we can stamp out racism, since the entire movement of that culture is towards a fanatical differential construction of the Other, and a perpetual extrapolation of the Same through the Other. Autistic culture posing as altruism. We talk of alienation. But the worst alienation is not being dispossessed by the other, but being dispossessed of the other: it is having to produce the other in the absence of the other, and so continually to be thrown back on oneself and one's own image. If, today, we are condemned to our image (to cultivate our bodies, our 'looks', our identities, our desires), this is not because of alienation, but because of the end of alienation and the virtual disappearance of the other, which is a much worse fate. In fact, the definition of alienation is to take oneself as one's focus, as one's object of care, desire, suffering and communication. This definitive short-circuiting of the other ushers in the era of transparency. Plastic surgery becomes universal. And the surgery performed on the face and the body is merely the symptom of a more radical surgery: that performed on otherness and destiny. What is the solution? There is no solution to this erotic trend within an entire culture; to this fascination, this whirl of denial of otherness, of all that is alien and negative; to this foreclosing of evil and this reconciliation around the Same and its multiple figures: incest, autism, twinship, cloning. All we can do is remind ourselves that seduction lies in non-reconciliation with the other, in preserving the alien status of the Other. One must not be reconciled with oneself or with one's body. One must not be reconciled with the other, one must not be reconciled with nature, one must not be reconciled with the feminine (that goes for women too). Therein lies the secret of a strange attraction.

As nervous systems developed, they acquired an elaborate network of peripheral probes—the peripheral nerves that are distributed to every parcel of the body’s interior and to its entire surface, as well as to specialized sensory devices that enable seeing, hearing, touching, smelling, and tasting. Nervous systems also acquired an elaborate collection of aggregated central processors in the central nervous system, conventionally called the brain.10 The latter includes (1) the spinal cord; (2) the brain stem and the closely related hypothalamus; (3) the cerebellum; (4) a number of large nuclei located above brain-stem level—in the thalamus, basal ganglia, and basal forebrain; and (5) the cerebral cortex, the most modern and sophisticated component of the system. These central processors manage learning and memory storage of signals of every possible sort and also manage the integration of these signals; they coordinate the execution of complex responses to inner states and incoming stimuli—a critical operation that includes drives, motivations, and emotions proper; and they manage the process of image manipulation that we otherwise know as thinking, imagining, reasoning, and decision making. Last, they manage the conversion of images and of their sequences into symbols and eventually into languages—coded sounds and gestures whose combinations can signify any object, quality, or action, and whose linkage is governed by a set of rules called grammar. Equipped with language, organisms can generate continuous translations of nonverbal to verbal items and build dual-track narratives of such items.

Tragedy! You finally make it to camp alive – only to discover that you forgot your toothbrush! You could Iris-message your mortal parent for a new one. But do you really want to walk around with drakon breath until it arrives? Instead, hit the camp store! While you’re there, be sure to check out the latest line of wind chimes – available in Celestial bronze, silver and seashell – perfect for interpreting the voices of prophecy-spouting trees! If hanging bling in branches isn’t your thing, how about the new Mythomagic expansion pack, Dual Deity Duel? The cards feature holographic images that change the gods’ aspects from Greek to Roman and back. He’s Ares! No, he’s Mars! No, he’s Ares again! Hours of dizzying head-to-head play! From tees to totes, whatever your needs, the camp store is your perfect one-stop shop.