G Austin Quotes

No one so dislikes being punished unjustly as the person who might have been punished justly on scores of previous occasions, if he had only been found out.

The High Street was full of farmers, cows, and other animals, the majority of the former well on the road to intoxication. It is, of course, extremely painful to see a man in such a condition, but when such a person in endeavouring to count a perpetually moving drove of pigs, the onlooker's pain is sensibly diminished.

A second case concerns Charles Whitman, the 1966 “Texas Tower” sniper who, after killing his wife and mother, opened fire atop a tower at the University of Texas in Austin, killing sixteen and wounding thirty-two, one of the first school massacres. Whitman was literally an Eagle Scout and childhood choirboy, a happily married engineering major with an IQ in the 99th percentile. In the prior year he had seen doctors, complaining of severe headaches and violent impulses (e.g., to shoot people from the campus tower). He left notes by the bodies of his wife and his mother, proclaiming love and puzzlement at his actions: “I cannot rationaly [sic] pinpoint any specific reason for [killing her],” and “let there be no doubt in your mind that I loved this woman with all my heart.” His suicide note requested an autopsy of his brain, and that any money he had be given to a mental health foundation. The autopsy proved his intuition correct—Whitman had a glioblastoma tumor pressing on his amygdala.

Auto-Zoomar. Talbert knelt in the a tergo posture, his palms touching the wing-like shoulder blades of the young woman. A conceptual flight. At ten-second intervals the Polaroid projected a photograph on to the screen beside the bed. He watched the auto-zoom close in on the union of their thighs and hips. Details of the face and body of the film actress appeared on the screen, mimetized elements of the planetarium they had visited that morning. Soon the parallax would close, establishing the equivalent geometry of the sexual act with the junctions of this wall and ceiling. ‘Not in the Literal Sense.’Conscious of Catherine Austin’s nervous hips as she stood beside him, Dr Nathan studied the photograph of the young woman. ‘Karen Novotny,’ he read off the caption. ‘Dr Austin, may I assure you that the prognosis is hardly favourable for Miss Novotny. As far as Talbert is concerned the young woman is a mere modulus in his union with the film actress.’ With kindly eyes he looked up at Catherine Austin. ‘Surely it’s self-evident - Talbert’s intention is to have intercourse with Miss Taylor, though needless to say not in the literal sense of that term.’ Action Sequence. Hiding among the traffic in the near-side lane, Koester followed the white Pontiac along the highway. When they turned into the studio entrance he left his car among the pines and climbed through the perimeter fence. In the shooting stage Talbert was staring through a series of colour transparencies. Karen Novotny waited passively beside him, her hands held like limp birds. As they grappled he could feel the exploding musculature of Talbert’s shoulders. A flurry of heavy blows beat him to the floor. Vomiting through his bloodied lips, he saw Talbert run after the young woman as she darted towards the car. The Sex Kit.‘In a sense,’ Dr Nathan explained to Koester, ‘one may regard this as a kit, which Talbert has devised, entitled “Karen Novotny” - it might even be feasible to market it commercially. It contains the following items: (1) Pad of pubic hair, (2) a latex face mask, (3) six detachable mouths, (4) a set of smiles, (5) a pair of breasts, left nipple marked by a small ulcer, (6) a set of non-chafe orifices, (7) photo cut-outs of a number of narrative situations - the girl doing this and that, (8) a list of dialogue samples, of inane chatter, (9) a set of noise levels, (10) descriptive techniques for a variety of sex acts, (11) a torn anal detrusor muscle, (12) a glossary of idioms and catch phrases, (13) an analysis of odour traces (from various vents), mostly purines, etc., (14) a chart of body temperatures (axillary, buccal, rectal), (15) slides of vaginal smears, chiefly Ortho-Gynol jelly, (16) a set of blood pressures, systolic 120, diastolic 70 rising to 200/150 at onset of orgasm . . . ’ Deferring to Koester, Dr Nathan put down the typescript. ‘There are one or two other bits and pieces, but together the inventory is an adequate picture of a woman, who could easily be reconstituted from it. In fact, such a list may well be more stimulating than the real thing. Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.

idea. O.G. would become a casualty in the process, but Austin didn’t care. It was the duty of the pawns to die in order to protect the throne.

out.

Doomed! - Opportunity of a lifetime! :)

R. G. Austin argued that Aeneas had no choice about the gate: he could not go through the exit for true shades because in fact he was not a shade.

It is impossible to glean any sense from them, as the Editor mixes up Nipperwick’s view with Sidgeley’s reasoning and Spreckendzedeutscheim’s surmise with Donnerundblitzendorf’s conjecture in a way that seems to argue a thorough unsoundness of mind and morals, a cynical insanity combined with a blatant indecency.

G. C. Lichtenberg said a book is like a mirror: If a jerk looks in, a jerk looks out.

She pulled out a few tortilla chips from a nearby shelf, dipping one deeply and popping it in her mouth, then holding out the jar so Daniel could do the same. She was hit with the summery peach and brown sugar that sweetened the tomatoes, and then the heat built, numbing her tongue from the back to the front. She swallowed, eyes watering, and looked at Daniel, who already had his mouth open trying to cool it off. Most Wisconsinites couldn't hold their heat, so she wouldn't be able to use it straight, but there were some nice flavors in there. "Here." She handed him a yogurt smoothie she kept in the fridge for days when she didn't have time to make a sandwich for herself. "Sorry, G. I thought it would be delicious." He had an easy manner, bordering on shy, but with a strong thoughtful streak. Gina appreciated his amiable company. "Ye of little faith. It has great flavor. It would be a shame to waste it. Have a seat and give me a few minutes." Daniel settled on the overturned five-gallon bucket she used as a chair when it was slow. "Tell me about what you were doing in Texas," she said. "My sister and her family live near Austin. I try to get down and visit her once a winter. It's a nice break from the cold." While he spoke she worked, mixing the salsa into cream cheese to cut the heat. She had some cornbread that she had made herself so it was the right texture to cut into slices- it would be the perfect accompaniment. She warmed up a little slow-cooked pork, tossing it with the peach salsa cream cheese mix, and put it between the cornbread slices with some shredded Monterey Jack, grilling it with butter to give the bread a crisp crunch.

At 0.15-0.2 grams of psilocybin mushrooms, (Fadiman’s suggested microdose) she experienced mild improvements to her mood and anxiety levels (rated 3.25 and 2.13, respectively) but not to her productivity (which idled at 2.75). The next dosage level was 0.2-0.4 g, which she had the opportunity to test between two different work environments—one less orderly and more social, and the other more organized and mostly independent. In the former environment, she found she was extremely productive (4.71) but also highly anxious (3.43). In the latter, she was somewhat less anxious (3.17) but also less focused (2.61). Her mood was exaggerated in general, characterized by higher highs and lower lows. Finally, at 0.5 g, which is typically described as a “minidose” or “creative dose,” Janet was surprised to find her anxiety levels almost negligible at 1.41 and her mood and productivity levels significantly improved at 4.50 and 4.07, respectively.[xxxii] Sub

Amanita muscaria Amanita muscaria – also known as the fly agaric mushroom – is completely legal in most countries. Notable exceptions include Australia, the Netherlands, and the UK. Amanitas contain muscimol and ibotenic acid (not psilocybin and psilocin), so their effects differ from traditional psilocybin mushrooms – at least at macrodoses. Microdoses of 0.1-0.5 g have been found to relieve anxiety, enhance mood, increase energy, and generally impart a sense of “magic” to the world through insights and synchronicities.

Conceptual Games. Dr Nathan pondered the list on his desk-pad. (1) The catalogue of an exhibition of tropical diseases at the Wellcome Museum; (2) chemical and topographical analyses of a young woman’s excrement; (3) diagrams of female orifices: buccal, orbital, anal, urethral, some showing wound areas; (4) the results of a questionnaire in which a volunteer panel of parents were asked to devise ways of killing their own children; (5) an item entitled ‘self-disgust’ - someone’s morbid and hate-filled list of his faults. Dr Nathan inhaled carefully on his gold-tipped cigarette. Were these items in some conceptual game? To Catherine Austin, waiting as ever by the window, he said, ‘Should we warn Miss Novotny?’ Biomorphic Horror. With an effort, Dr Nathan looked away from Catherine Austin as she picked at her finger quicks. Unsure whether she was listening to him, he continued: ‘Travers’s problem is how to come to terms with the violence that has pursued his life - not merely the violence of accident and bereavement, or the horrors of war, but the biomorphic horror of our own bodies. Travers has at last realized that the real significance of these acts of violence lies elsewhere, in what we might term “the death of affect”. Consider our most real and tender pleasures - in the excitements of pain and mutilation; in sex as the perfect arena, like a culture-bed of sterile pus, for all the veronicas of our own perversions, in voyeurism and self-disgust, in our moral freedom to pursue our own psychopathologies as a game, and in our ever greater powers of abstraction. What our children have to fear are not the cars on the freeways of tomorrow, but our own pleasure in calculating the most elegant parameters of their deaths. The only way we can make contact with each other is in terms of conceptualizations. Violence is the conceptualization of pain. By the same token psychopathology is the conceptual system of sex.’ Sink Speeds. During this period, after his return to Karen Novotny’s apartment, Travers was busy with the following projects: a cogent defence of the documentary films of Jacopetti; a contribution to a magazine symposium on the optimum auto-disaster; the preparation, at a former colleague’s invitation, of the forensic notes to the catalogue of an exhibition of imaginary genital organs. Immersed in these topics, Travers moved from art gallery to conference hall. Beside him, Karen Novotny seemed more and more isolated by these excursions. Advertisements of the film of her death had appeared in the movie magazines and on the walls of the underground stations. ‘Games, Karen,’ Travers reassured her. ‘Next they’ll have you filmed masturbating by a cripple in a wheel chair.

What exactly is he trying to sell?’ Ignoring Catherine Austin, Dr Nathan walked over to the photographs of the isolation volunteers on the enamel wall beside the window. The question revealed either astonishing ignorance or a complicity in that conspiracy of the unconscious he had only now begun to unravel. He turned to face the young woman, irritated as always by her strong, quizzical gaze, an overlay of her own potent sexuality. ‘ You, Dr Austin. These advertisements constitute an explicit portrait of yourself, a contour map of your own body, an obscene newsreel of yourself during intercourse.’ He rapped the magazines with his gold cigarette case. ‘These images are fragments in a terminal moraine left behind by your passage through consciousness.

The Primary Act. As they entered the cinema, Dr Nathan confided to Captain Webster, ‘Talbert has accepted in absolute terms the logic of the sexual union. For him all junctions, whether of our own soft biologies or the hard geometries of these walls and ceilings, are equivalent to one another. What Talbert is searching for is the primary act of intercourse, the first apposition of the dimensions of time and space. In the multiplied body of the film actress - one of the few valid landscapes of our age - he finds what seems to be a neutral ground. For the most part the phenomenology of the world is a nightmarish excrescence. Our bodies, for example, are for him monstrous extensions of puffy tissue he can barely tolerate. The inventory of the young woman is in reality a death kit.’ Webster watched the images of the young woman on the screen, sections of her body intercut with pieces of modern architecture. All these buildings. What did Talbert want to do - sodomize the Festival Hall? Pressure Points. Koester ran towards the road as the helicopter roared overhead, its fans churning up a storm of pine needles and cigarette cartons. He shouted at Catherine Austin, who was squatting on the nylon blanket, steering her body stocking around her waist. Two hundred yards beyond the pines was the perimeter fence. She followed Koester along the verge, the pressure of his hands and loins still marking her body. These zones formed an inventory as sterile as the items in Talbert’s kit. With a smile she watched Koester trip clumsily over a discarded tyre. This unattractive and obsessed young man - why had she made love to him? Perhaps, like Koester, she was merely a vector in Talbert’s dreams. Central Casting. Dr Nathan edged unsteadily along the catwalk, waiting until Webster had reached the next section. He looked down at the huge geometric structure that occupied the central lot of the studio, now serving as the labyrinth in an elegant film version of The Minotaur . In a sequel to Faustus and The Shrew , the film actress and her husband would play Ariadne and Theseus. In a remarkable way the structure resembled her body, an exact formalization of each curve and cleavage. Indeed, the technicians had already christened it ‘Elizabeth’. He steadied himself on the wooden rail as the helicopter appeared above the pines and sped towards them. So the Daedalus in this neural drama had at last arrived. An Unpleasant Orifice. Shielding his eyes, Webster pushed through the camera crew. He stared up at the young woman standing on the roof of the maze, helplessly trying to hide her naked body behind her slim hands. Eyeing her pleasantly, Webster debated whether to climb on to the structure, but the chances of breaking a leg and falling into some unpleasant orifice seemed too great. He stood back as a bearded young man with a tight mouth and eyes ran forwards. Meanwhile Talbert strolled in the centre of the maze, oblivious of the crowd below, calmly waiting to see if the young woman could break the code of this immense body. All too clearly there had been a serious piece of miscasting. ‘Alternate’ Death. The helicopter was burning briskly. As the fuel tank exploded, Dr Nathan stumbled across the cables. The aircraft had fallen on to the edge of the maze, crushing one of the cameras. A cascade of foam poured over the heads of the retreating technicians, boiling on the hot concrete around the helicopter. The body of the young woman lay beside the controls like a figure in a tableau sculpture, the foam forming a white fleece around her naked shoulders.

Was my husband a doctor, or a patient?’ Dr Nathan nodded sagely, glancing over his fingertips at Catherine Austin. What had Travis seen in those time-filled eyes? ‘Mrs Travis, I’m not sure the question is valid any longer. These matters involve a relativity of a very different kind. What we are concerned with now are the implications - in particular, the complex of ideas and events represented by World War III. Not the political and military possibility, but the inner identity of such a notion. For us, perhaps, World War III is now little more than a sinister pop art display, but for your husband it has become an expression of the failure of his psyche to accept the fact of its own consciousness, and of his revolt against the present continuum of time and space. Dr Austin may disagree, but it seems to me that his intention is to start World War III, though not, of course, in the usual sense of the term. The blitzkriegs will be fought out on the spinal battlefields, in terms of the postures we assume, of our traumas mimetized in the angle of a wall or balcony.

Export Credit Guarantees.‘After all, Madame Nhu is asking a thousand dollars an interview, in this case we can insist on five and get it. Damn it, this is The Man . . . ’ The brain dulls. An exhibition of atrocity photographs rouses a flicker of interest. Meanwhile, the quasars burn dimly from the dark peaks of the universe. Standing across the room from Catherine Austin, who watches him with guarded eyes, he hears himself addressed as ‘Paul’, as if waiting for clandestine messages from the resistance headquarters of World War III. Five Hundred Feet High. The Madonnas move across London like immense clouds. Painted on clapboard in the Mantegna style, their composed faces gaze down on the crowds watching from the streets below. Several hundred pass by, vanishing into the haze over the Queen Mary Reservoir, Staines, like a procession of marine deities. Some remarkable entrepreneur has arranged this tour de force; in advertising circles everyone is talking about the mysterious international agency that now has the Vatican account. At the Institute Dr Nathan is trying to sidestep the Late Renaissance. ‘Mannerism bores me. Whatever happens,’ he confides to Catherine Austin, ‘we must keep him off Dali and Ernst.’ Gioconda. As the slides moved through the projector the women’s photographs, in profile and full face, jerked one by one across the screen. ‘A characteristic of the criminally insane,’ Dr Nathan remarked, ‘is the lack of tone and rigidity of the facial mask.’ The audience fell silent. An extraordinary woman had appeared on the screen. The planes of her face seemed to lead towards some invisible focus, projecting an image that lingered on the walls, as if they were inhabiting her skull. In her eyes glowed the forms of archangels. ‘That one?’ Dr Nathan asked quietly. ‘Your mother? I see.