Zombie survival guides. Alien interventions. Super bugs. Reality show raptures. Economic cliffs. Anti-Christ-Palooza. Terrorists and Tiaras. Bit coin. Gold coins. Gluten. NSA. GMOs. Homo-trimony. The new Arcade Fire album.
Signs, symbols and Zeitgeist stingers. Time traveling omens from Armageddon are the stock and trade of our modern day narrative. The stories and anxieties we lay down and fret about until the Ambien kicks in. But why such a narrow bandwidth? Where’s the bigger, wider picture? The range of other frequencies?
Scenarios of doom monopolize our inner landscape because speeding up to the end means a new beginning is just around the corner. That’s one theory. The catch of course is the way we resist other narratives. It’s critical now to think beyond the parameters of being a garden-variety human being. This is the nut of the ‘message’ from the ongoing, exact as of today, again, for the fourth (out of seven swipes) Uranus Pluto square.
When food, money, energy and optimism are scarce we become attached to whatever sort of hoard (be it our meager amount in savings or the way Plutocrats hog all the wealth and investments in their seemingly exempt world) we’ve come to associate with as a means to see us through to the new phase. The catch? You can’t cross the river in a boat and then take that boat with you as you explore the new world. It’s too cumbersome and defeats the purpose of surrender.
So we’re looping right now. Sort of like animals do before being eaten by a predator. You’ve probably seen shots like this on those nature shows you watched as a kid. The prey runs around and around in a circle, hysterical, before the killing bite is administered by the predator. Right?
Our inner animal is a bit freaked. So, like your pet, you need to assure it all will be well. You’ll take care of things and keep the wolves away from the door. Do that for your inner critter, you’ll gain a lot of traction in the process.
The weirdness happens when we observe ourselves observing others and the world we coexist in. If we’re not dwelling on our own crisis of faith, then we want to read about it in the news or watch it in a sci-fi or horror film; a tacit way of confirming that everyone’s sort of fucked up at the same time.
Fact or fiction doesn’t matter — just that we’re seeing clearly that everything is caving in — that’s the essential ‘meaning’ behind the obsessive imagery we circulate and share and post and tweet about it — over and over and over. It’s the Hologram of the Season. The reality bite that keeps on biting.
As I’ve already mentioned, I associate this End of Days meme with the fourth swipe between Uranus and Pluto. The number four makes things sharply concrete; there’s less of a feeling for a creative outlet with four, like there is with the number three. Four is two plus two which feels like two sides against two other sides — the nature of two being opposition and discord. A doubling up of angst.
My field notes show that Uranus is associated with time warping. A hybrid process of time speeding up, which means our subjective experience of time is altered and tweaked out — it kind of forces us to feel and peer into the future, despite our best efforts to avoid perception. This quickening happens via Aries. So the sense of urgency, to remove constraints, shackles, anything that limits freedom, imparts that time bomb feeling. Tick tock. Uranus becomes the hair shirt we’re wearing. It’s exciting to think about it except for one small impediment:
Pluto is akin to a black hole generator. When our awareness is touched by Pluto, nuclear fission occurs; meaning, we phase between one reality and another reality in such a way that forces us to leave the former reality and pop into the later reality which, to our animal nature — our survival drive — is associated with annihilation of the former, and so, well, we balk and freeze and hover. And yet the worm hole beckons.
Somehow both patriotism and horror are palpable in Hegarty’s works, which she mutilates and brings to new life in a recent exhibition, titled, “Altered States.”
Rémi Gaillard is a guy who lost his job as a shoe salesman and then decided to transform the big question mark in his life (as in “What to do next?”) by spreading that question mark all over the world as a culture jammer, (as in people scratching their heads while watching him and asking “What the fuck?)
Think of Rémi like another Banksy but only much more juvenile, a graduate of the Jackass school of agitprop.
Gaillard is a good example of someone taking a scary life event (unemployment) and flipping it into a cue to start doing exactly what he loved most, namely comedy and furries and disturbing the status quo. (Furries? Well, just Google it).
Gaillard’s motto is “C’est en faisant n’importe quoi qu’on devient n’importe qui.”
Translated: “It’s by doing whatever that one becomes whoever.”
I’m needlepointing that into my bedspread right after this post goes live.
As a man interested in comely men, I will vouch, too, for P.E.T.A’s designation of Rémi being one of the sexiest vegetarians on the planet. I’d like to share a tofu burger with him at his earliest convenience.
His natal chart (February 7, 1975 in Montpellier, France — no birth time) shows a not-surprising water trine between Venus and Uranus. Venus (and Mars) in Pisces folks have a strong affinity with animals. Perhaps this is related to the traditional association of the signs Virgo and Pisces (with little and large animals, respectively.) You can think of this signature as someone who loves (Venus) to create chaos (Uranus) by wearing animal (Pisces) costumes. Feel free to add that description to your collection of key phrases for astrological aspects.
Amplifying his comedic nature is Aquarius and Saturn. It might be that Gaillard’s moon resides in Capricorn, too, depending on time of birth, but he’s definitely an Aquarian. And as I remind folks with a strong Saturn or the sign Aquarius exaggerated in their chart: Some of the funniest people in life are Saturnine (dark, sarcastic, often gallows humor-inspired souls) or Aquarian — just loopy peculiar folks, like extraterrestrial walk-ins.
The golden moment in this new mobile art piece by activist artist Banksy comes right at the 45 second mark when the inner child in each of us realizes the grim reality of what’s going down.
The Sirens of the Lambs features a slaughterhouse delivery truck, loaded with plushies, touring the meatpacking district in New York. Coming to your village soon!