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“…live consciousness is a manipulation of theatres…”

from Sleepless in Roswell pt 9:

“All Image Systems are Magical Systems.”
(Politics of the Imagination)

from Colin Bennett’s Sleepless in Roswell pt 5

In this sense meant by Errol Morris (see Part 4), can we deconstruct “fact”? Is the universe meant to work properly, or does the fabled “noise in the machine” function (like the UFO) as an anomalistic destabiliser? Does the slightest anomaly blossom out like the proverbial butterfly’s wing and throw any and every partially-stabilised system into chaos?

Certainly belief structures, from Jesus to UFOs, from Nazism to Capitalism, can be designed, managed and cultivated as crops in a cosmological nutrient. The symbiotic relationship of we might call a “soft” Lady GaGa mass-media system to the “hard” spines of rational belief structures appears to concern the somewhat political management of different degrees of counter-ritualization concerning metaphor structure. Story-lines dispute fact and fact does not like story lines in the sense that they tend to destabilize the inner dimensions of fact which propagandistically (and all culture is propaganda) would like to be seen as absolutes.

This leads to the somewhat postmodern thought that live consciousness is a manipulation of theatres managing a scaling of allowances rather than objectivities.


The locus of the impacts of the denial/acceptance sets sculpts the shape of our post-modern extraterrestrial alien. Like the UFO again, this liminal creature has a partial structure suspended between fact and fiction composed of various degrees of allowances rather than mere fact versus fiction oppositions. In the fullest sense this is an intermediate state which hangs in the conceptual air like an unfinished portrait or an incomplete tale. How are such states created? How do they work?

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