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The Trouble with Witty Flights: Contents under Pressure

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One of the hardest things she went through, she says today, was just getting people to believe that all of the harassment was going on. ‘If you tell people you're being followed, they think you're paranoid,’ she says. The experience left her angry and depressed. ‘I was really very, very bitter.’
–Tony Ortega interviewing Paulette Cooper about her experiences with the Church of Scientology, Village Voice, 24 November 2011
Indeed, Pauline Cooper, in the face of her ordeal with Scientology, found those she counted on for support not only tuned-out the message about Scientology, but pathologized her as "paranoid." One can imagine the type of frustration that causes, resulting in a vicious cycle where one is facing pressure from an outside source, and cannot rely on the expected emotional support of friends, some of whom probably distance themselves. A targeted person might even see that distancing as suspicious in and of itself, leading them to wonder if friends might be secret Scientologists, and if so, which ones. In Cooper’s case, that’s exactly what happened when she discovered that a "new" friend actively participated in Scientology’s surveillance efforts against her

It’s not difficult to imagine that had the FBI not discovered iron-clad evidence, in the form of internal Scientology memoranda detailing their harassment and framing of Cooper (in operations they dubbed FREAKOUT and DYNAMITE), history, and for that matter the courts, might have regarded Cooper as a dangerously disturbed individual, a threat to herself and others. Likewise, Sweeney’s outburst to CoS spokesperson Tommy Davis made the reporter seem unhinged. Although Sweeney could document the surveillance using his own cameras, Rinder’s stipulation that he ordered and participated in the activities against Sweeney, and his possession of internal CoS memos verifying the attempt to harass and provoke the journalist, is what really proves the implementation of the Fair Game policy beyond a reasonable doubt standard.

We know that Jeremy Blake and Theresa Duncan took at least some steps to document what they saw as harassment by the Church of Scientology. Duncan wrote about these efforts on Wit of the Staircase. She specifically said that she and Blake had taken pictures of cars close to their home bearing Florida plates. In a comment to a post dated 25 July 2007 on Blogging Los Angeles, someone going by the handle "Marshall" shared an excerpt from his private e-mail correspondence with Duncan in which she attached photos of these cars. One of them, a van, had painted on it a telephone number with a Clearwater area code.

Granted, that doesn’t prove that the cars with the Florida plates had anything to do with Scientology. After all, there are plenty of Scientologists in southern California and NYC that could more stealthily follow Blake and Duncan with their in-state plates. Nevertheless, the photos attached to that e-mail at the very least show that Blake and Duncan tried to prove what they felt to be one source of pressure acting upon them. Unlike Cooper, Theresa and Jeremy would most likely never have had the tremendous luck of FBI special agents finding the smoking gun for them. And unlike Sweeney, they probably wouldn’t get former high-ranking church officials to corroborate and provide written evidence of their suspicions. And after they died, they were hardly in a position to stop such Scientology hires as John Connolly from helping to make what could be their final public depiction–the last word.

Although it’s extremely difficult to prove Scientology harassed Blake and Duncan, their claims are consistent with those made by others who were not judged delusional, or could in fact prove the harassment took place. And their behavior is consistent with those getting their buttons pushed.  Seeing that by many accounts the couple lived in dread as their lives drew to a close, it’s reasonable to consider the likelihood of the church’s harassment as a stressor, which provoked them to act in ways that would seem unbalanced, irrational, or perhaps even dangerous.

Blake and Duncan might have faced pressures from other sources. In "The Trouble with Anna Gaskell," Duncan unambiguously laid out her suspicions that some of their harassment had come courtesy of Jim Cownie, a well-connected Iowa media mogul and the foster father of Jeremy’s former beau. Theresa saw the connection in a number of menacing guises: the proliferation in their area of cars bearing Iowa plates; the alerting to her FBI file by Dr. Reza Aslan, a former Iowa resident; the friendship between Anna Gaskell and Hillary Chartrand, whose boyfriend, Ralph Rugoff, had apparently started a smear campaign against her and Jeremy; the pacing in front of their Venice home by Gaskell’s brother, Zach.

Let’s table discussion of that for now.

Instead, let’s look at speculation that Duncan and Blake might have faced even more pressure from a source that was as hidden and mercurial as it was ubiquitous. This source has possubly existed for decades, but soon made a special roost for itself online. There are aspects and actors that we can name. Most times, however, it’s not clear who a person is, what they represent, or what they intend to do. Perhaps they can do you harm, online or off.

If you want a short name for this "thing," let’s call it "Trickster," for the time being. Like any other trickster, it’s not a he or she, but an it, which real flesh-and-bone people bring to life. And like tricksters past and present, it finds fruit in every wound.

We have reason to suspect that Blake and Duncan might have encountered either Trickster or a twenty-first century spiritual clone. Other bloggers--especially those who write about politics, parapolitics or conspiracy–have argued in reasoned terms that a malicious something turned the biographies of one Theresa Duncan and one Jeremy Blake into the backdrop of a sideshow called Theremy. Many have described this entity as malevolent. Those who encountered it have discussed publicly and privately the personal toll it took on them.

Every who has encountered Trickster will tell you, at the very least, the experience was stressful.

The Trouble with Witty Flights: The ‘Wrong’ Thread

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As a whole Rigint is a masterpiece of confabulation and satire, news and conspiracy that despite blending real threats with UFO gobbledlygook somehow manages to get to the black heart of the matter. This genius new literary/news form works in much the same way as a grosteque [sic] nightmare which disguises and yet points back to some basic truth.
–Theresa Duncan, “9/11 on the Staircase: The Coincidence Theorist’s Guide,” Wit of the Staircase (11 September 2006)

Another thread where I have no idea what is going on.
–Nordic, “RI ‘Bad’ Guys: UR Doin It Wrong,” Rigorous Intuition Forum (17 January 2010).
In the very first post in this series, I mentioned the passions that once ran high in online dialogue about Theresa Duncan and Jeremy Blake, as well as my hopes that time has allowed for some cooling down about the topic. Of course, I realized I could be wrong, and that we might be in for a bumpy ride. 

Fortunately, things have been rather calm so far on The X-Spot itself.  But over the past several months, my inbox got lit up like a Mardi Gras drunk.  In summary, these e-mails have come from people connected in various ways to the topic.  Some have voiced suspicion about where I am heading, or what my real purpose is (and for good reason, as you will see).  Many have expressed concern about my well being should I pursue the niche of the Blake/Duncan story that we’re about to.  A couple of people have tried to warn me off of it. 

Well, fools rush in.

Almost all of these correspondents cited a certain online event that in many ways defined the Internet phenomenon of Theremy as they came to know it.  Namely, they referred to a thread on the Rigorous Intuition Forum titled “RI ‘Bad’ Guys: UR Doin It Wrong,” begun by a forum member using the handle compared2what? (or C2W for short).   The initial post, harsh and strident in tone, makes unspecified accusations against unnamed persons on the board:
I don't like to be the agent of anyone's misfortune. So I don't narc behind the scenes, -- or for that matter, in full view -- when it comes to naming names and taking prisoners. And I'd prefer to keep it that way to the greatest extent possible. However, you're the ones who set the limits there, really, not me. I mean by your ‘bad’ actions. In case that's not clear,,,,

As far as I can see, you do not have a valid cause. Apart from which, on an on-again-off-again basis, your pretensions are profoundly offensive to me personally. Because, hello? I'm a politically serious intellectual who finds something close to godliness in transgressive art

So to the pathetic extent that you're pretending to be and/or actually believe that you are intellectuals, politically serious people, and/or transgressive artists, you're pissing on stuff that's very valuable to me....

Because to be honest, I tend to lose interest in that shit once I can see that it is what it pettily is. I mean, it's not like I'm getting paid to map out every fucking non-subtlety in Thee Circle Jerk of Doom.

So there you have it. I feel for you all and wish you the best. I honestly do. But you really shouldn't do ‘covert’ if you don't know how. Because it really can be dangerous. And if you'd had controllers to whom you were assets worth protecting, they would have told you that a long time ago. Plus, just in case you're laboring under illusions on the issue: There's no such thing as a controller who cares about you. In the real covert world or in the real world, period. Caring people do not go into the controlling business....

You could say that there is an ARG. If you consider a small group of egotistical assholes having gone to a lot of trouble to establish multiple false identities with which to take over the RI forum starting (I believe, but sorry, got bored, zzzzzz) way back in the EZ-Board era (if not before, zzzzz) to be an ARG.

Also, there's a whole lot of extraneous shit that people who aren't in on it are supposed to think is happening. Like, you know: When they put your hands in the bowl of peeled grapes while you're blindfolded, you're supposed to think they're eyeballs.
You might be scratching your head right now wondering what that meant.  And as the above quote from poster Nordic illustrates, you would have had company back in 2010.  A lot of subsequent responses articulated a widespread cluelessness about what C2W said.  Some asked for clarification.  As someone going by the handle justdrew put it, “are you suggesting that some -kind of self-harm ‘driving’ is being attempted by some theoretical faction?”

While most of the posters tried to figure out C2W’s jeremiad, a handful knew exactly what she meant.  Among them was board moderator Et in Arcadia Ego, who briefly explained the subject matter at hand:
At its heart, there are two, maybe three groups, some consisting of probably a single individual, who have caused trouble in one form or another on this forum since at least 2005.

One of them simply consists (my opinion, but an educated one) of a needle-dicked fucking pest, the others, among them a certain chaos fiction author, are a bit more creative in the level of harassment and willingness to portray being something more ominous then they really are. Or more innocent than they are, in reference to Miss C2W's comments.

It could have, and maybe should have been made more apparent to members here, but the management has labored extensively on your behalf to provide you with a stress free environment where you are unconstrained to shit your pants on more important things like crappy CIA-made Hollywood films.
Other forum members pressed for more information about the who and what.  But in the haze of vagueness, posters then began making accusations and counter-accusations.  One commenter, Smiths, saw the cryptic nature of the allegations as problematic in itself:
i would like to say that the most obvious way that someone fucks around with the board is by posting threads all about the state of the board, the way that someone sows dissent and division is by banging on about losers who are somehow against the forum but not naming names, creating a kind of mystery force that is out to get us all.
In the very next post, C2W, for the first time, named a person she thought was one of the “bad” guys, a fellow poster going by the handle Wombaticus Rex.
I wasn't going to name you [Wombaticus Rex] if I didn't have to. You're a very good writer, by the way. I have absolutely no idea what goal or cause you think you're advancing by prepping the board for the Last Statue (and associated) bullshit.
Although it wouldn’t ring any bells for someone new to RigInt, more forum members finally began to comprehend C2W’s initial accusation, namely the derailing of forum topics in order to, among other things, promote The Last Statue.  She also pegged someone she thought lay behind these activities: specifically, blogger dreamsend.  By this time, dreamsend had become persona non grata on the RI forums, in substantial part due to his speculation about the ARG-like qualities of Blake, Duncan and Wit of the Staircase.  Many of the members could also see the similarity between the handles Wombaticus Rex and StegasaurusRex, which many had linked to dreamsend in another online forum

Other members began to eye Wombaticus Rex with maximum suspicion, prompting the beleaguered netizen to protest his innocence, insisting that he was not dreamsend. To this end he offered considerable personal information about himself, including his real name, age, location, occupations, workplace, musical aspirations and previous residence.  Curiously, C2W, the poster who prompted the attack, subsequently chided other posters for following her lead, writing, “The personal attack on Wombat was horrifying.  And every bit as bad as what I’m trying to expose.”

Some members saw the thread going out of control.  Moreover, they could not understand why Wells, the host, had not taken on a more active role in moderating what might become either a witchhunt,, or the entire usurpation of the forum by posters hostile to its reason for existence.  Yet Wells offered little direction, joking that he was a “graduate of the Arthur Carlson School of Forum Management.”*

With no other elaboration forthcoming from the original poster, Et in Arcadia Ego explained the situation, as he saw it, in greater detail:
I was contacted by Jeff in December. He was basically venting over what appeared to be a new mystery person working along similar lines as the much despised fucking nick spoofer, Mrs Et in Arcadia ego Eve....

This new person, Mrs Tina fucking Delgado, is the apparent author of the Last Statue material, and several blogs, Untermuyer, and Kid Kenoma among them. Dream's End latched onto these, because that's what he does.....

Via these blogs, the author was dropping what appeared as ominous references to RI members. This was facilitated in several ways, among them gossip from members here who don't know how to keep their fucking mouths shut when speaking about others who have placed trust in them....

Consequently, I was data mined, information on me was distorted BEYOND FUCKING BELIEF, my ex-fiance, who committed a horrible double suicide was dragged into this, and facts about her life twisted into making me appear the reason for her tragedy.

During all this I have been in constant contact with Dream's End, who has maintained a consistent disavowal of not knowing who this person is, and I believe him having discusses [sic] the matter for COUNTLESS fucking hours over the last three weeks.

Factor in the merging of the recent interest in the Octopus story, which attracted this forum's WORST unknown troll, Socrates/Last_ Name_Left/Proldic and countless other screen names, with the Kid Kenoma author, and you have what Jeff referred to as the ‘Perfect Troll Shit Storm.’”** [caps original]
elfismiles offered further explanation of C2W’s initial accusations, in the process invoking the memory of past domestic operations aimed at political dissidents:
C2W seems to feel there is evidence of a long-term concerted effort among the seemingly disparite [sic] incidences of RI community derailment. A variant on the Cointelpro shenanigans we often discuss here but possibly more a matter of a group of trolls that she believes may be working together and have been here for a very long time.

The users in question have often used sock-puppets to hide their identity and C2W is suggesting they were sleeper-sock-puppets waiting to be activitated.

All of which are ideas I'd not really thought about until DreamsEnd began his similarly minded suspicions and suggestions regarding our host and his moderators back in 2007.”
The “UR Doin It Wrong” thread subtly  reveals a coherent narrative. Here, as the story goes, we start with a vibrant, possibly thriving online community, comprised of individual members confident in themselves and each other, collectively doing its best to unravel the arcane mechanisms of power.  The members sense an outside presence slowly creeping into their sphere, one that distracts, demeans, undermines, threatens and belittles their efforts.  They can cite seemingly disruptive behavior.  Yet, they cannot see this alien influence. They remain uncertain about the exact actions taking place, the intentions of the disruptive forces, if in fact the people behind the myriad sock-puppets number in the scores or in the single digits, the direction from whence this presence came, and the direction it’s heading.  And even though they strongly suspect at least three to five trolls among their midst, it is unclear whether or not they can offer or garner court-quality evidence to establish (1) the identity of the perpetrators, or (2) their actionable deeds to a preponderance standard of proof.  A frustrating turn of events.  And it came to a head with the investigation into Theremy and such related topics as The Last Statue.

The result: chaos.  Discord.   Individual members were now at each others' throats.  Worse, they feared themselves.  They wondered if an online collaborator might be a sock-puppet of one of the “bad” guys, or a dupe (intentionally or unintentionally) doing their bidding.  Some complained that others had appropriated their online identities, posting spurious, incendiary or defamatory content in their name, behind their backs.  Many worried about intrusions upon their private lives, similar to what happened to Et in Arcadia Ego.  Some, like Wombaticus Rex, even felt compelled to bare all for public scrutiny so that he could stay within the community.  Although some might characterize the accounts of personal harassment as grossly exaggerated or perhaps non-existent, the fact remained that the stories themselves had a chilling effect on cooperation, and eroded trust among the conspiracy researchers rallying ‘round the Rigorous Intuition brand.

Elsewhere, in other online venues, some seriously considered, the possibility that behind all the “bad” actors and their sock-puppets stood a malevolent puppet-master pulling everyone’s strings. 

_____________________
*Arthur Carlson, played by actor Gordon Jump, was the enfeebled, do-nothing radio station boss on the sitcom WKRP in Cincinnati.     

**Elsewhere in the thread, Et in Arcadia Ego complained that the proprietor of the Kid Kenoma blog had dug into his personal background and posted an inaccurate account of how his actions supposedly led to his fiancee’s suicide. 

Kid Kenoma later responded on her site:
And to Et in Arcadia Ego’s credit, he neither whined nor threatened me when contacting me by gmail. He simply stated the facts of the matter in surprisingly eloquent terms, as one human to another, and the offending material was immediately taken down. He seemed to understand that there was no ARG, no plot, no data mining, no stalking, and that certain persons were wildly exaggerating, or outright fabricating their claims of personal harassment.

The X-Spot: Year Seven

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Another year has come and gone.  During that time, I’ve done half one series, and half of another.  The old gray mare just ain’t what it used to be. 

I’d like to say there wasn’t that much action during that time, but I’d be wrong, of course. These last two series have been the most contentious that I have done.  On the bright side, as I have mentioned earlier, I’ve received help from a number of netizens (I think–for reasons that will be clear in a couple of posts, I can’t tell if I’m dealing with twenty or one).  Whatever the case, I thank you all for weighing in.  It has truly been an enlightening experience.

I also appreciate you regular readers who have put up with my frequent blogosphere absences over the past twelve months.  I’m glad to see you still around.  Perhaps one of these days I’ll share the kudos given to you by some of the people lurking around the blog, and by some of my meatspace friends who are as impressed with you as I am.  I was particularly ecstatic to see Devin and Roxanne in particular during the early part of this series.  I hope to see your comments as the series winds down.

Of course, some of you are no longer on the air, and I understand your reasons.  Let’s face it, blogging is a passe social medium these days.  So I’ll just say I miss you. 

One person I particularly miss is Libby.  I haven’t been able to reach her by e-mail or telephone.  If you ever read this, hon, remember that you’ll always be a part of this page, and a part of me.

The Trouble with Witty Flights: Sacred Toenails, Legal or Otherwise

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Edited 2/26/13

In podcasts and on his blog, dreamsend mentioned that his suspicions regarding the ARG-like qualities of Wit of the Staircase received affirmation from sources that implied or stated some type of inside connection to Theresa Duncan.  Kate Coe told him, for example, that Duncan named her dog Tuesday.  Moreover, Theresa’s computer password was “tuesday,” she died on a Tuesday, Jeremy Blake died the following Tuesday, and “she was really into Tuesday Weld.”  Given that, one might wonder if the character string “Tuesday” had significant thematic or literary meaning here, especially given the growing awareness of Jeffrey Turner’s parapolitical musings that linked Weld to an underground occult society connected to Intel.  Then too, the rumors of the underage starlet’s wild parties and sexual escapades meshed with the sexual predation of young girls, about which Duncan often wrote.

In another instance, dreamsend described how he found the anagram “A Lonely Wit - Aloha,” or “A Holy Toenail Law” Et in Arcadia Ego Eve (Eve, for short), the author of the comment originally appearing on Rigorous Intuition, alerted him to it.* dreamsend seemed to think that, she deliberately pointed him to the cryptic remark to make it appear as though Duncan’s death had been in the works for some time before its actual occurrence on 10 July 2007.  Seeing that Duncan died unexpectedly, such foreknowledge would imply a planned murder, the erasure of a fictional character, or a fake death. 

Of course, when looking at many of the comments made by Eve, in that thread and elsewhere, one notices the abundant use of conspiracy-research buzzwords in a cryptic context.  And if you throw enough of them against the wall, a few are bound to stick here and there, thus affording anyone the opportunity to interpret and reinterpret them to indicate foreknowledge of future events. 

At some point, dreamsend looked into Eve’s personal life.  He identified her as a paralegal working in the Southeastern US. In a post titled “Troll and Bulldog Do Lunch,” he further stated that she had contacted him under a number of pseudonyms, one of which had a connection to content found on Wit of the Staircase:
In emails to me, under a variety of fake names, [Et in Arcadia Ego Eve] claimed not only to be Gannon, but also kidnap victim Johnny Gosch, or more precisely, that Gannon and Gosch were the same person, or moe [sic] precisely still, that Gannon was an alter personality of Johnny Gosch.

For reasons unknown to me, [she] contacted me under her real name, from her work email no less.

Not sure why she made it so easy, but in any event, I called her boss at the lawfirm where she was a paralegal...and said, ‘Hey, your paralegal spends a lot of time on the job sending me emails under different names.’  Her boss had their tech guy call me who confirmed that the emails all came from her computer.

I then called her PREVIOUS employer, another law firm, and talked to one of the partners there, who confirmed that they had had similar problems with her and implying that this is why she no longer worked there.  He denied, however, that his law firm had ever represented Jeff Gannon, a claim made by [Eve] to me in a telephone conversation.
In the redacted post titled “The Trouble with Anna Gaskell,” Duncan strongly hinted that media mogul Jim Cownie, the legal guardian of Blake’s ex-girlfriend, had something to do with the kidnapping of Johnny Gosch.  And many conspiracy researchers (including Duncan) suspected the missing child grew up to be ultraconservative reporter/prostitute Jeff Gannon.  If one were to speculate that Theresa's thinly veiled accusation had any merit, then it might possibly follow that Gannon, himself thoroughly entwined in and loyal to right-wing politics, would have some motive for disrupting the story by misdirecting someone looking into it.  But if Gannon did so here, one would have to first assume that he and Eve had some connection.  To that end, dreamsend posted a photograph of two people who look very much like Eve and Gannon sitting together in a friendly setting.  And to add intrigue onto intrigue, a commenter to the “Troll and Bulldog Do Lunch” post found another article linking Eve to US Intel.

The point here isn’t to discredit, poke fun of, demean, or even defend someone’s research methodology.  Rather, it’s to illustrate a claim of research manipulation by parties whose motivations weren’t clear.  Right now, for the purposes of this story, I am not interested in the truth or falsity of Et in Arcadia Ego Eve’s putative spy creds, or for that matter the true identity of Jeff Gannon.  What’s important here is the notion that someone is seeding information to a researcher that would lead him down the garden path to inevitable connections and an inescapable, though farfetched (and worse yet, grossly inaccurate), conclusion.  It’s also important to note that both supporters and detractors stipulate that once upon a time dreamsend impressed them with his ability to ferret out information in other stories.  The sentiment is also just as universal that in his investigation into the deaths of Blake and Duncan he jumped off the deep end of a drained pool, alienating former colleagues to the point where they now saw him, and Eve, as two of the dangerous “bad guys.”  

If this were a “diabolical” plot of some sort, then its effect would seem to be twofold.  On the one hand, you’ve neutralized an otherwise persuasive voice.  On the other you’ve begun to shape the story of Blake and Duncan by eliminating or discrediting certain lines of inquiry that might develop into more valid insights later on. Any current discussion about ARG-like qualities--not necessarily in the story of Blake and Duncan, but rather in the treatment of that story–would most likely engender some degree of disbelief, even if reasonable.**

Then again, attempts to define Blake and Duncan’s existence had literally begun days after the discovery of Jeremy’s body.  The website Theresa Duncan Central, as noted earlier, aggressively characterized Wit as a stoner, a faux-intellectual, a troll, and a “dearly-departed, demented plagiarist.” The posts often relied on material by journalist Kate Coe, who sometimes commented on the posts.  All in all, it plays up the folie à deux angle, and derides dissenting opinions, among them those of writer Ron Rosenbaum, who initially considered conspiracy explanations of the couple’s demise.

The blogger known as Socrates, also named as one of the “bad guys” on the “UR Doin It Wrong” thread, cited the Theresa Duncan Central blog on his own site, DFQ2, describing it as “...pretty much what it claimed to be:  A One Stop Source For Budding Duncanologists [italics and caps original].”  In a post titled “The Theresa Duncan Story Solved,” he echoed many of the negative sentiments found on Theresa Duncan Central.  As he wrote in the opening paragraph:
Theresa's story had actually been figured out soon after she and her soulmate Jeremy Blake committed suicide. They were not murdered. They did not fake their deaths as part of an elaborate, alternative reality game. They were not harrassed [sic] by Scientologists, at least nowhere near the extent Jeremiah Duggan was. I don't think they were even harrassed [sic] by anyone, no more than any of us are trolled on. Theresa was a drug user. She was also mentally ill. She was on a path to embarassment [sic]. She was a plagiarist and liar. She had a strong dislike for older people. She had just turned forty. She killed herself out of self-pity and shame.
Socrates had a reputation for trolling various sites through a number of sock-puppets for years before Blake and Duncan excited the blogosphere, and for years afterIn a 7 March 2011 post, Kid Kenoma characterized Socrates as a pseudo-leftist who, after being either fired or shunned by such liberal and progressive activists as Velvet Revolution’s Brad Friedman and Daily Kos contributor Maryscott O’Connor, tried to curry favor with far right political players David Horowitz (founder of the Wednesday Morning Club mentioned earlier in this series) and Los Angeles County Deputy District Attorney Patrick Frey, who blogs under the handle Patterico.  Another Daily Kos contributor, Neal Rauhauser, contended that Socrates and Frey had connections to a disruptive ultraconservative online faction attempting to silence selected liberal and leftist targets through defamation, among them Velvet Revolution founder Brett Kimberlin.***  

Others have linked this cabal to another huge name in right-wing politics.  As The Watchful Avenger wrote in a 16 May 2012 post titled “LA DA John ‘Patterico’ Frey Reveals His Plot To Destroy Non Profit”:
There has been a long term war ongoing between Frey and VR dating back to early 2010 when Frey and Andrew Breitbart organized a group of conspirators using mentally challenged individuals such as the cyberstalker Seth Allen and the Islamophobic Manassas Virginia Attorney at Law, Aaron Justin Walker, who also blogs as Aaron Worthing, to go after VR and Brett Kimberlin by publishing derogatory and or false information about VR and Kimberlin to destroy VR’s ability to raise funds. I have long questioned the reason why Frey and other individuals such as Walker who tweets as @AaronWorthing have gone after VR and its founders Brad Friedman and Brett Kimberlin. Last night Patrick Frey revealed what the operation was truly about, and that is VR’s donors....

Every story that has come out against VR and Brett Kimberlin has been produced by Frey, Mandy Nagy [known online as Liberty Chick], Aaron Worthing and Seth Allen, as noted in this tweet from Frey:
The recently deceased Andrew Breitbart, had a number of conservative bonafides having written political commentary for Rev. Sun Myung Moon’s Washington Times.  After helping Arianna Huffington set up her now-famous Huffington Post, he set up a similar website, Breitbart.com, which served as a news hub for various stories supporting the conservative cause. In one of the most famous cases that broke on Breitbart.com, a couple of Republican activists, James O’Keefe and Hannah Giles, posed as a couple (ostensibly a pimp and his prostitute) seeking help from the Association of Community Organizations for Reform Now (ACORN), a non-profit organization dedicated to solving such issues as voter disenfranchisement, and decent housing and medical care for the working poor.  They secretly videotaped the interviews with ACORN personnel, and elicited responses that would seem to indicate that they were advising them on how to evade taxes and avoid detection of sex trafficking crimes. 

As it turned out, the story was a hoax.  The video was heavily and expertly edited.  Among other things, someone had overdubbed questions onto the audio track that didn't correspond to the original ones asked of the ACORN workers.  Consequently O'Keefe and Giles succeeded in making ACORN staff seem complicit in a criminal conspiracy.  The cameras never showed O’Keefe and Giles during the interviews, but in other footage (i.e., in scenes without ACORN staff) they wore stereotypical Mack and callgirl disguises, thus making it appear as though their intentions were obvious.  In truth, however, O’Keefe and Giles wore plain street clothes during these conferences.  A number of subsequent official investigations found that ACORN had neither violated any laws, nor misused any of its government funds.  But ACORN has yet to recover from the scandal.****

While there’s abundant evidence that GOP political tricksters expended considerable effort to define various individuals and groups as evil, immoral or unlawful enemies, it’s still curious that one of its ranks would have that much of an opinion on the fate of Jeremy Blake and Theresa Duncan.  Moreover, that he would use the same kind of venom that most would for political targets would imply that he saw them as political targets important enough to go after.  Throw in someone like Et in Arcadia Ego Eve who has alleged ties with a famous right-wing ideologue, and Wednesday Morning Club regular Kate Coe, and you have an even more curious group of people playing an active role in shaping the Blake/Duncan story.  What’s interesting isn’t their diversity, but rather their ideological homogeneity.

As Alice herself would say, “Curiouser and curiouser.”
______________
*Again, not to be confused with former Rigorous Intuition Forum moderator Et in Arcadia Ego. 

**Threads of the Blake/Duncan story somehow wound up being incorporated into The Great and the Terrible (also known as the I’m Sorry) ARG designed by Brian Bricker.  The plot deals with a framed private investigator’s attempts to prove his innocence in a murder case.  It has since been brought to my attention that the attachment of Blake and Duncan to the I'm Sorry ARG came, to a substantial degree, from blogger dreamsend.  While on the one hand such would give little example of an ARG designer deliberately injecting Theremy into a game, one could still surmise that the deaths of Blake and Duncan could be injected into an ARG scenario, just as other conspiracy stories have been.

***A lawsuit Kimberlin filed against Frey revealed Socrates to be a New Englander named Seth Allen.  Allen was accused of penning the material, which Frey posted on his blog. 

****The attack against ACORN was in essence an attack on President Barack Obama, who, as a community organizer worked with the group in Chicago during the 1980s.  A number of Republican pundits accused ACORN of rigging the 2008 US presidential election through their voting registration efforts.

Other Breitbart.com stories involved the heavy editing of a videotaped speech made by Georgia State Director of Rural Development Shirley Sherrod which made her appear racist against white farmers, and the entrapment of US Representative Anthony Weiner (D-NY) in a sexting scandal.

The Trouble with Witty Flights: Who’s Matheny?

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Edited 2/27/13.

Anyone who knew anything about the lives and deaths of Jeremy Blake and Theresa Duncan could readily see the parallels between them and the unfinished novel, The Last Statue.  Looking at it on just a superficial level, one sees numerous references to the lyrics of Steely Dan songs, one of which, “Rose Darling” seemed to have had a special meaning for her.*  Also, the story examines a Hollywood steeped in occult beliefs that guide its business decisions.  And at the core of this is an entrenched 4-Pi presence throughout the industry.  Compare that to Duncan’s suspicion that her work ran up against the power of the Church of Scientology, of which 4-Pi is an offshoot of an offshoot, and you can infer why a script such as Alice Underground might not have ever seen the greenlight of day, despite the hopes that studio execs had for it.

The Last Statue’s introduction to various forums caused a stir when many posters saw it as an intrusive alternative reality game, as demonstrated by the brouhaha within the “UR Doin It Wrong” thread.  Many of the posters reacting on that forum made clear their opinions that alternative reality gaming (ARGs) had an insidious purpose: namely to confuse the facts of conspiracy research with fictional memes introduced by various sock-puppets, controlled by an puppet-master. 

In this case, the puppet-master had a name.  He also had a reputation. 

When discussing the ARG-like qualities of the Blake and Duncan story, there were a number of insinuations, and sometimes outright accusations, that those promoting The Last Statute were either the various secret identities of one Joseph Matheny, or someone acting on his behalf (wittingly or not).  The association of an individual netizen to that particular name often invoked said netizen to set the record straight as quick as possible.  In a 26 July 2007 Rigorous Intuition thread titled “Theresa Duncan,” for example, Woombaticus Rex replied to dreamsend’s initial post with a single word, “Matheny?” 

In his next post, dreamsend answered, “No...Matheny is not working with me...is that what you mean?” 

That’s not what Wombaticus meant.  As he explained in his next post, “No, I was asking if Matheny was one of the people you were referring to,.”

Speaking of Wombaticus, in the “UR Doin It Wrong” thread, the poster known as compared2what? hinted that he might have been dreamsend and, and thus Matheny’s dupe because he commented on both of their blogs:
There's an ‘Uncle Humpasaur’ on...I think Joseph Matheny's blog comments from about a century ago, who might be [dreamsend] and might be our I-ain't-admittin'-nothin Wombat friend, assuming that they're two different people. And seriously, I don't have the tools to prove whether they are or aren't. Nor do I care. I see their actions. Which are stupid, dull, and destructive.**

A Unifiction poster going by the handle teri lee shunned any association with Matheny.  In a forum titled “[Trailhead?] The Last Statue,” she wrote:***
They concerned the fact that you [SteganosaurusRex] seem convinced that The Last Statue is yet another Matheny project, which is something that would be of great value to know, a relevant and important thing to know in the context of the ongoing discussion, that would be a reasonable and entirely appropriate item of discussion between two parties who have had a sustained information- sharing dialogue for some time prior to this current thread,

The authors wish me to convey as plainly as possible, that this is NOT a Matheny project, and in some ways could be regarded as the antithesis of such.
Added our friend Birdmadgirl:
My point is–[The Last Statue] is in direct opposition to Matheny's effort to deflate/deflect any serious inquiry into the Process Church and its offshoots [e.g., 4-Pi] by ridiculing/misleading those who do take the occult seriously (not necessarily the woo-woo of occult belief, but the influence the occult may have had on less savory aspects of American culture and history). When one takes a long, hard (and yes, skeptical) look at the Process and other like movement/organizations, there may be more to it than a bunch of woebegone cultists who wore crazy black robes and owned a lot of dogs.

Of course, one of the charms of AR gaming is the tendency to deny that a game is even taking place.  That prompted Mark R to post, “‘I am not Matheny’ sounds almost as sincere as ‘This is not a game’ and the new hit single ‘This is not an ARG.’”

To which teri lee facetiously replied, ““everything's a meme.  everybody's Matheny”

In this I’m-Matheny-you’re-Matheny-she’s-Matheny-we’re-Matheny-wouldn’t-you-like-to-be-Matheny-too environment, the presence of Joseph Matheny loomed large in discussion of the Theremy phenomenon, even (or especially) when his actual participation was not clearly evident.  To this end, many were accused of representing Matheny in discussion of the topic.  Consequently, this led to a situation where many were on the hunt, trying to find out who, among their fellow posters was Matheny.

And that’s a real question Who’s Matheny?

To some extent, Joseph Matheny (left) leads a fairly public life.  Looking him up on Wikipedia, one can learn that he is both a writer (screenplays, technology, sci-fi) and an originator of such things as behavioral analysis algorithms and software.  Yet, Matheny’s primarily known around cyberspace for his pioneering contributions to alternative reality games, which were actually more like interactive fiction–kinda like Chop Suey The Next Generation.  In this case, the story unfolds across numerous media–from pre-Web bulletin boards to xeroxed hard copies, CD-ROMs, radio and TV, and eventually to the Internet as we know it–with players uncovering myriad layers or facets of the story the more they delve into the subject matter.  Meticulously researched, the projects often blur the comfortable distinctions between fact and fiction. 

Ong’s Hat, drew inspiration from conspiracy research, most notably from Project Montauk  In this story, Ivy League scientists descend upon the ghost town of Ong’s Hat, NJ in order to conduct secret research on chaos and quantum theory.  Their work eventually leads to a theory of time travel utilizing a device called the EGG. 

In a September 2007 interview with P. Emerson Williams (Milford Connolly), Matheny expounded on his use of conspiracy ideas in his fictional work:
I like to play with the name [Illuminati] with a lot of other things, because I consider that to be a very crucial element to modern American mythology–is conspiracy theory.  All things–basically all the stuff you would hear on Art Bell–are kind of the things in the past that I like to play with as themes for fiction because I do consider that and comic books to be, like, probably the only two real American mythology that’s floating around these days.
Part of the problem that conspiracy researchers had with Ong’s Hat was its tendency to use venues ordinarily used for conspiracy research in order to propel the story line (e.g., a noted piece penned by Chica Bruce for Disinfo).  Many saw this as an intrusive dissemination of memes that compromised earnest conspiracy research because it confused understanding between what was known, what could be speculated or inferred, and what was now purely fictional.  Those relying on Disinfo and similar sites for information about such topics as Montauk subsequently suspected an active misinformation campaign in new revelations about any subject. 

If those within conspiracy research circles grew to have severe animosity toward Matheny, then the feeling seemed mutual.  In the previously cited interview with Williams, he made clear his disdain for some online conspiracy communities, accusing them of neglecting real-life problems and issues in order to go off the deep end:
[Matheny]:  My opinion on the MONARCH and MARIONETTE mythos is that the reality–having right after or right around the time I was kind of pushing Ong’s Hat very heavily, and, you know, a lot of people, for some reason, a lot of people attached themselves to that mythos, that seemed to think that I was, that there was something in this story that was talking about mind control.  And in fact, what the story of Ong’s Hat, one element of the story in Ong’s Hat was talking about in training yourself to get into a meditative state so you could do dimensional travel.  But not this victimization/mind control crap that I hear these days.

[Williams] See, it, I–

[Matheny]: But, but, now just listen.  So, I came into contact with some people, who I’m not gonna name.  But if I did name the names you would know the names. They’re very prominent names from the mind control conspiracy community.  And I observed these people basically convincing people who had obviously had psychological problems of one sort or another convincing them that their problems were caused by MONARCH and MARIONETTE mind control.  Implantation and, you know, all this [unintelligble] stuff And that inevitably, what followed that was that they were the deprogrammers that could help them.  Right?  This, to me, looked and smelled, and eventually I figured out, it was cult behavior.  Cult induction behavior.  Nothing less than that is what it was.  Right?  And these people were basically what they were doing is they were doing the same thing a cult does, which is to convince you that you’re helpless, that you have problems, and that your problems can only be solved by the cult or the cult leader.  Right?  I don’t see any difference in what’s going on between the MONARCH programming thing that goes on right now and those–and that kind of behavior.  That, I would call it a cult.  I would call those people cults.  

And later:
If you study psychology, what you discover is that in order to be a paranoid schizophrenic there’s a necessary precursor condition which is called ‘primary narcissism,’ which if you think about it makes sense, which is in order to actually be so paranoid that you believe that they are out to get you, you have to first believe that you are important enough for them to be out to get you.
These statements illustrate a number of things, among them a belief very similar to that of the False Memory Syndrome Foundation.   Although Matheny did not say that those who “obviously had psychological problems” actually remembered being inducted into MONARCH or similar programs, he did express the opinion that they had been coerced into a belief system similar to that of cults.  Moreover, like cults these beliefs were quite rigorous and orthodox. 

Of course, many who approach such boards would say that they already had anomalous experiences, and that they found such online communities in order to find out if anyone else had undergone something similar, or were looking for support among sympathetic persons who would not automatically dismiss them as crazy.  And if we assumed that one of the communities in question were, say, the one hovering around Rigorous Intuition, then his statement could naturally seem like an indictment of them personally, and against its host Jeff Wells.

Perhaps  more problematic is the equation of online conspiracy networking to cults–beyond the pejorative connotation of that term.  They really don’t seem to operate in similar ways.  People often disagree with each other in these forums, unlike in a cult where internalizing the catechisms handed down by leadership becomes so mandatory that members are always in constant agreement.  Moreover, I’m not aware of any of the participants of Rigorous Intuition and similar forums “tithing” 10-70% of their income, or being subject to food/water deprivation, drugs, or forced isolation: behaviors many cults engage in.  True, the pursuit of conspiracy information could alienate some family members.  Yet, I don’t recall Wells, Eleanor White or anyone else fitting that description ordering those on the forum to sever family ties and so forth, lest they risk suffering severe consequences--which they actually plan to carry out if not obeyed.
   
As for ‘primary narcissism,’ it’s a concept coined and advanced by Dr. Sigmund Freud in his 1914 paper “On Narcissism: An Introduction.”  Freud characterized it as the normal, libidinous self-awareness that complemented the non-sexual energy of egoism.  As such, he considered it to be a necessary component of any healthy organism, and something that should be present by the end of early childhood (about six years).  Matheny’s therefore technically correct in citing it as a necessary precursor condition to paranoid schizophrenia.  By the same measure, it would also be a necessary precursor for the blues, a case of the sniffles, a broken toe, or a flat tire on the Interstate. 

By conflating the Freudian concept of primary narcissism with contemporary popular and clinical understandings of narcissism, Matheny seems here to not only vilify (at least some) conspiracy research as cultish, but to pathologize it as well.  Perhaps Matheny was speaking ironically (although one would doubt it given the themes of such later works as El Centro).****  Likewise, those participating in the Rigorous Intuition and other forums might have similar animus against Matheny, with suspicions about him ranging from Anti-Christ to, worse yet, intelligence operator.  Thus, when reading the “UR Doin’ It Wrong” thread and others we can see a certain leeriness and fear when it comes to Matheny, his actions, and his motivations even though there isn’t really good reason to suspect that he is participating (or for that matter aware) of the discussion. 

Most important, in terms of Theremy, some in the conspiracy community were well aware that the story of Blake and Duncan had definitely come across Matheny’s radar: As he explained to Williams:*****
Well, you know, there’s the Theresa Duncan thing that’s going around these days, And I find–what I find interesting about that is that there’s been a smokescreen that’s kind of been thrown over that whole incident, which, you know, those two people committed suicide, that Theresa Duncan and Jeremy Blake.  It was very tragic.  Nobody really knows what the reason is.  But I do know that before they both killed themselves they did claim that they were being harassed by Scientology.  That doesn’t mean it’s true, but it doesn’t mean it’s not.  Because it’s hard for me to scoff at Scientology harassment having experienced it firsthand.  That’s all I’m going to say.  I’m not going to go into–no, no, no–I’m not going to go into it because these guys have a policy called ‘Fair Game.’ 

Despite the fact that he gave mild credence Blake and Duncan’s contention of Scientology harassment, the point, for many, was that he had apparently some interest in them, or in the Theremy phenomenon itself. 

After visiting his Greylodge websites, listening to his podcasts, and watching him on YouTube, one begins to see Matheny as an interesting man, full of ideas, creativity, and self-assuredness that some might say crosses the line between confidence and hubris.  Yet, I find one of his influences far more fascinating. He actually alludes to it Ong’s Hat, and in other projects.  While one could argue that he’s taking an artistic/literary tradition to a whole new level, the tradition itself has been part of mainstream culture for decades.

__________________________
*Duncan quoted the lyrics of “Rose Darling,” in the Wit of the Staircase posts “Sur les toits de Detroit [On the Roofs of Detroit],” and “The Spore Is on the Wind Tonight,” Arguably a more poignant example of Duncan’s affinity for the band came during her funeral, when the lyrics of Donald Fagan’s “Walk between the Raindrops” were read at the grave site. 
 
**As mentioned earlier, SteganosaurusRex was a handle used by a Unifiction forum poster who many at RigInt had identified as dreamsend.   Also, in the “UR Doin It Wrong” thread and other places, Wombaticus Rex identified himself as Humpasaur.  c2w’s accusation here probably links the identities of Wombaticus and dreamsend because of their alternative aliases, both of which spoof the names of dinosaurs. 

***(Click here to see an episode of Project Camelot, where Matheny participated in an online discussion about time travel.

Ong's Hat also drew inspiration from the Moorish Orthodox Church, a sister faith of the Nation of Islam.  The MOC evolved into an eclectic sect embracing other religions and technological advancement.  Like the NoI, the MOC traces its roots to Timothy Drew, an American mystic active during the early part of the Twentieth Century.  

****In the same interview, Matheny stated:
[The] El Centro [Project] was really my fuck-off and farewell to the conspiracy community.  That’s how it was intended. And the way the whole thing–to give it away a little bit, I’m not going to give away too much because this thing is a book, you know, and I do want to try to get this out there, and have a little element of surprise to it-- but it, at the end of the day, the chapters that you can’t get to now really did show that the main character, Gil, who I think you read one of the chapters about him, ends up discovering that, you know, he’s not really mind-controlled.  He’s been led to believe that he’s being programmed and mind-controlled by some rather nefarious newage characters (notice I said ‘newage,’ like ‘sewage’) who  really are just, you know, out to do what I was talking about earlier with the whole MONARCH and mind-control and reptillian-alien bullshit that goes on out there.   And really just trying to find people who are in a bad way, who are at a weak point in their life, or who are suffering from some sort of organic or mental distress of the brain, and take advantage of those people.

*****In another online forum, dreamsend quoted Matheny as saying:
If I have anything to add, it's this: Theresa and Blake are two tragic examples of the very thought patterns that I was trying to criticize in El Centro and not unprecedented in their final outcomes because of it. To those that have said, ‘They would appreciated what we're doing [i.e., researching their deaths as possible homicides]’ I counter with a comment written to me by someone who DID know them ‘They would run screaming from these people.’
With the help of Birdmadgirl, I've been able to locate the source. These statements could really only be applied to Rigorous Intuition, which early on raised the question of assassination in a 24 July 2007 post titled “After the Ambulances Go.”

The Trouble with Witty Flights: Olympus Has Fallen for Golden Apples and Frozen Internet Dinners

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Click here to see an update on a previous post in this series.
The History of Glamour has never gone out of release, and is [sic] far as I'm concerned we're still watching the sixties unfold culturally
–Theresa Duncan, interview with Adrienne Crew, LAist (6 February 2006)
Researching this topic, I’ve come across a few things that made me smile.  This page, for instance, links Joseph Matheny’s Ong’s Hat to a nefarious cult called Discordianism.  The author of this page, a blogger going by the handle Central Scrutinizer, has dedicated his entire site to what at first glance appears to be an attack on Discordianism.  While one cannot be sure whether his commenters are missing the joke or in on it,  it’s clear that CS is hardly against Discordianism.  In fact, the page manifests the tenets of this, for lack of a better term, philosophical/spiritual movement.

It’s difficult to summarize Discordianism in a few sentences  But in a nutshell, it’s the belief that disorder (represented by the patron goddess, Eris, or her Roman counterpart Discordia) and order are in equal measure a part of Truth.  As explained in the canonical text Principia Discordia:
The Aneristic Principle is that of apparent order; the Eristic Principle is that of apparent disorder. Both order and disorder are man made concepts and are artificial divisions of pure chaos, which is a level deeper than is the level of distinction making.

With our concept-making apparatus called ‘the brain’ we look at reality through the ideas-about-reality which our cultures give us...

Western philosophy is traditionally concerned with contrasting one grid with another grid, and amending grids in hopes of finding a perfect one that will account for all reality and will, hence, (say unenlightened westerners) be true. This is illusory; it is what we Erisians call the Aneristic Illusion. Some grids can be more useful than others, some more beautiful than others, some more pleasant than others, etc., but none can be more True than any other.
With this in mind, along with the fact that anyone who joins the faith immediately becomes a Pope and can therefore effect change within the religion/philosophy itself, what ostensibly results is chaos. Thus, there are divergent views within Discordianism as to what it actually is, and what it actually means.  Some of the founders, for example, saw it as a vehicle for social change by disrupting conventional wisdoms and entrenched perspectives through a series of humorous pranks, hoaxes, or other forms of culture jamming.*   Others saw it as a nihilistic/anarchistic creed with the goal of breaking down society completely.  And some, noting the comedic edge that pervaded every aspect of it, simply saw Discordianism as a long-running gag.
       
Of course, human nature being what it is, one could also expect a degree of orthodoxy to develop within various enclaves of any open system, even if it's a non-system.  Our race has a tendency to extract order out of randomness, after all.  And if we took Discordianism seriously for a moment (something which Discordians would view in and of itself as heresy), we could very well see it, in the language of Principia Discordia, as simply another grid constructed by self-appointed know-it-alls to filter Truth.** In the quest to slay the dominant cultural narratives of the day–Discordians would say that if you wave the flag of one side in opposition to another, you’re still marching under someone else’s colors–the question emerges as to the dragon’s identity.  In other words, there seems to be within Discordianism the impulse to go after what individual Popes might consider extremism on any side.  Problem is, extremism is often in the eye of the beholder. While most people object to what they consider ideologically extreme even when it affirms their world view, extremism in opposition to their perspective often inflames their animosity, prompting them to deem it worthy of annihilation   If one considers tolerance of and sensitivity to those different from the majority in terms of race, class, gender, sexual orientation and class objectionable, for example, he can caricature it as a form of extremism and dub it “political correctness.”

One can therefore see a trend under Discordian banners (and it does have them) of scorning political views that lean too far one way or the other.  What one often finds, therefore, is a very curious, almost backhanded, defense of the status quo, or in other words, a sort of hip conservatism.

When describing Discordian principles and philosophy, Popes often cite National Lampoon, its live performances, its records, and its movies as examples of the faith.  One artifact, a song, seems to crop up time and again in this regard.

Figure 1.  National Lampoon’s “Deteriorata.”  Performed by Norman Rose and Melissa Manchester; words by Tony Hendra, music by Baron Christopher Guest (warning: earworm alert)



“Deteriorata” spoofed :Les Crane’s 1971 single “Desiderata,” an uplifting, inspirational (and yes, sappy) 1927 poem by Max Ehrmann set to music.  Looking at it from a cultural studies perspective, “Desiderata” didn’t really represent a 1960s new-leftist counter-cultural viewpoint so much as it did a response to it, a kind of cultural compromise or dialogue.  If you’re too young (or were too stoned) to recall the era, “Desiderata” really encompassed the contemporary optimism that people, individually or collective, could effect positive social change.  “Deteriorata,” on the other hand, lambasted the notion of compromise, and instead, with tongue firmly buried in cheek, replaced the optimism of the original with a pessimistic paean to submission.

And in case the subtleties of “Deteriorta’s” commentary on the 1960s escape the reader, he or she should note its context.  The parody originally appeared in National Lampoon’s 1973 stage show, Lemmings, a scathing satire of 1960s counter-cultural that poked fun of the Woodstock Free Concert, and “political correctness” in general.***

Figure 2.  Excerpt from National Lampoon’s Lemmings.  Performed by John Belushi, Paul Jacobs, Christopher Guest, Alice Playten, and Gary Goodrow.  Words and music to “Lemmings Lament” by Jacobs.  (Warning:  serious earwig alert)****




The late author Robert Anton Wilson, himself an avid fan of and contributor toNational Lampoon, helped develop Discordianism back in the 1950s, and propagated it in many forums, among them forewords in various editions of Principia Discordia, and in his Iluminatus! trilogy (co-written by Robert Shea), Wilson’s connection to the aforementioned Joseph Matheny is exemplified by the latter’s inclusion of audio commentary by the former on his 2010 album, Temporary Autonomous Zone.  In another audio interview titled The Lost Studio Session, Wilson gave Matheny a brief history of his involvement with Discordianism, saying:
The fascinating thing about Chaos Theory is that I was one of the pioneers without even knowing it.  Back in 1957, two friends of mine named Malaclypse the Younger and Ho Chi Zen were in a bowling alley in Yorba Linda, the birthplace of Richard Nixon, and they were arguing about why there was so much chaos in the world.  And according to Ho Chi Zen, a chimpanzee walked in and said, ‘read Bullfinch.  All this chaos is due to Eris,’ and then disappeared in a puff of green smoke.

According to Malaclypse, they figured it out themselves.  And Ho Chi Zen just invented the miraculous talking chimpanzee to make this religion more attractive to the gullible.  So they each ex-communicated each other.  Malaclypse became the head of the Discordian orthodxy, and Omar Ho Chi Zen became the head of the Lunatic Fringe.  And as soon as I learned about this religion, I excommunicated both of them.  And we were all popes of three different factions of the Discordian Society, which is true to the spirit of Malaclypse’s original revelation, ‘We Discordians must stick apart.’ 
The reference here is to Thomas Bullfinch, a Nineteenth Century literary historian who, among other things, wrote down a number of classical Greco-Roman myths.  The tale describing the wedding of Peleus and Thetis became the central theme of importance to Discordianism.  In this legend, Zeus and Poseidon, fearing that a sea-nymph named Thetis would give birth to a son who would displace the current rulers of Olympus (just as Zeus and Poseidon had deposed the previous generation of gods), arranged for her to marry a mortal named Peleus.  They even threw a grand reception for the newlyweds, inviting the entire pantheon, with one exception.

They decided not to invite Eris, the goddess of discord, because, let’s face it, she was a buzzkill.  Incensed at what Discordians would someday call The Original Snub, Eris planned to get even.  She created a solid gold apple inscribed with a Greek phrase that roughly translates as “to the prettiest.” She then surreptitiously crashed the party long enough to roll the apple in front of the three most powerful goddess, knowing full well that they’d fight over who should claim it.

Zeus then found himself besieged by Aphrodite (in some stories his daughter, in others his sibling), Athena (his other daughter) and Hera (his wife and sister), each demanding that he judge them in what amounted to a beauty contest.  Zeus declined, so the trio looked around to find a male stupid enough to accept the task of evaluating their pulchritude, and eventually found what they wanted in Prince Paris, the second son of Priam, king of Troy.

Not content to let their looks speak for themselves, each contestant offered Paris a bribe.  Hera offered him unlimited power.  Athena vowed to give him a wealth of advanced knowledge.  Paris, not interested in the first two, chose Aphrodite, who promised him the undying love of the sexiest woman in the world.  Unfortunately for many, Helen, the woman in question, already had a husband: namely, King Menelaus of Sparta. When Paris went to Sparta under cover of a diplomatic mission, he claimed his prize, taking Helen back to Troy with him.  Enraged, Menelaus and his brother, Agamemnon, considered Helen’s disappearance an abduction and an act of war.  They launched “a thousand ships” filled with soldiers to rescue her, thus starting the Trojan War. 

If you’re scratching your head right now wondering this post has to do with the deaths of Jeremy Blake and Theresa Duncan, then I’d have to answer very little, if anything, as far as I know.  I’ve heard speculation (clearly labeled as such) wondering if Jeremy and Theresa had come up against a cabal of cyberbullies who, along with the Church of Scientology, harassed the couple and became additional sources of their stress and dread.  Given Matheny’s animosity towards a conspiracy community that Duncan herself seemed to encourage, along with the Discordian influences of such predecessors as Wilson, one might infer a tricksterish impulse to play games with someone so passionate about a number of things.  Yet, there’s very little evidence that I’m aware of that would indicate anyone, much less Matheny, set out to “Jake” Duncan, or for that matter Blake.   And while I can show you places where Duncan received flak for asserting a reasonable but unpopular position, there’s nothing to suggest that anyone targeted her specifically–again as far as I know.

While this digression into Discordianism doesn’t have much to do with their deaths, I would posit that it does have some bearing on the content of Wit of the Staircase.  As the opening quote of this post would illustrate, Duncan had a keen understanding of (1) the 1960s, (2) the semiotics of that period, (3) the cultural history and significance of the decade, (4) the continuing social drama struggling to define it, and (5) the role of artistic expression in that contested meaning.  Moreover, we have reason to believe that the primary tenets of Discordianism, if not Discordianism itself, were not only on her radar, but that she in some ways embraced them, and in other ways stood in opposition to them. 

As for Discordianism’s’ role in the Theremy phenomenon, that would be difficult to assess, let alone prove.  In some ways, the hypothesis that someone deliberately punked the Rigorous Intuition board in general, and the “UR Doin It Wrong Thread” specifically, leaves us with a rather (golden) delicious irony.  Some might have seen compared2what? as initially rolling the apple by hurling cryptic accusations against unspecified individuals.  The again, c2w also seems to be blaming others, specifically those “prepping the board” for The Last Statue, of fruit bowling.  Just as in the ancient myth, no one sees what sets the apple in motion   It would be pointless to accuse any specific individual of sewing the seeds of discord, especially since those seeds are so very prevalent in mainstream culture, thanks to National Lampoon and other media producers who make their bread and butter from the burlesque of non-mainstream ideas.  So, for all we know, no one rolled the apple.  Yet, the apple is there.  Discord ensues. 

Before this series re-establishes Blake and Duncan as the main characters in the story of Blake and Duncan, let’s take a look at something else along these lines.   In case you didn’t notice in the above quote, Anton Wilson names two other individuals.  Very interesting fellows, indeed.

And if you thought this post was out there, you might want to put on your deep paranoia suit for the next one.


________________________
*The practice, dubbed Operation MINDFUCK by Robert Anton Wilson, was highly cellularized, instigated by individual members, who would not apprize other Popes (especially more senior ones) of their actions.  The idea was in large part inspired by an analysis of game-play developed by two Princeton University professors, mathematician Dr. John von Neumann and economist Dr. Oskar Morgenstern, in their 1944 book Theory of Games and Economic Behavior.  Morgenstern and von Neumman’s work supported the understanding that an opponent can least predict your attacks if you sufficiently randomize them.

**As it evolved, one can see a consistent distinction between Truth and reality here, as adherents view the latter as a construct heavily influenced by culture, and the former as what I often refer to on The X-Spot as the ‘empirical world,’ i.e. the cosmos as it actually is within and beyond human perception or understanding.

***Over the decades, National Lampoon displayed a seemingly hypersensitive antagonism for “political correctness,” among other things boldly pushing the envelope with grossly racist stereotypes, and stark attacks on feminism, making women, and often the female body itself, the butt of many a joke--in more ways than one. (Warning:  NSFW link.)

Also, for whatever reason, “Deteriorata” does not appear on the Lemmings album, but instead on Radio Dinner.

****Compare the sentiment of Lemmings to the following statement made by Matheny on 23 February 2009 for a podcast titled “Fear and Loathing on the Internet: Redux Part 1”
I've always kind of had this 2% theory...there is about 2% of humanity that is actually a mutational curve that's worthy of surviving any kind of environmental change, that includes intellectual, and then the rest of them are pretty much followers that are going to walk off the edge of the cliff or are just going to be really surprised when conditions start changing as they are now and they're not going to be able to adapt. That's reflective of that principle because everything I've ever done, it's been about 98% of the people that have responded to it have responded exactly in the opposite way I wanted them to respond.

Of course, one can not be sure, despite his trumpeting of the 2% here and elsewhere, that Matheny, like National Lampoon, is simply joking, especially given the irony of that last sentence. Of course, even commonsense would concede that there's often candor in jest.

The Trouble with Witty Flights: Dissidence and Patriotism, Off the Deep End

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Got your deep paranoia suit on?  Then proceed with caution. Updated 2/28/13
Paranoia seems to us an absolute patriotic duty at the moment, and Rigorous Intuition is like the incredibly symbolically twisted and bizarre dream you wake up from to realize that the scenario thrown up from the unconscious is actually the expression of some very simple truth you had been desperate to avoid facing.
–Theresa Duncan, “The Swell Life: Homo Californius And The Return Of The Paranoia-Free Pastoral,” Wit of the Staircase/
Writer Robert Anton Wilson associated with some very interesting people with fascinating connections, among them his friend and sometimes collaborator Richard Bandler, a pioneer of Neural Linguistic Programming (NLP).  Bnadler’s research into NLP led him to consult with PSYOPs experts at the Pentagon and Langley, according to a number of crediblesources.  Wilson also knew Bandler’s former tenet, Gregory Bateson, an applied anthropology lecturer at the Humanistic Psychology Institute,  as well as a consultant for the Office of Strategic Services (OSS) during WWII, and later for other intelligence services. 

The two associates Wilson mentioned in the quote cited previously used the rather obvious pseudonyms Malaclypse the Younger, and Ho Chi Zen.  If you want to attach real names to these colorful figures, you might want to start here, at the National Archives and Records Administration’s (NARA) official collection of JFK assassination documents.   Malaclypse turned out to be Gregory Hill, a rather obscure figure, about whom little is known.  He nevertheless became a character in Wilson’s Illuminatus! books.  Ho Chi Zen was one of the numerous pen names used by Kerry W. Thornley, 

Thornley’s involvement with the JFK assassination began in 1959 when he met Lee Oswald at El Toro Marine Base, located near Irvine, CA.  In 1962, Thornley completed the first draft of The Idle Warrior, the first of many books written about Oswald.  Thornley subsequently testified about Oswald for the Warren Commission

Orleans Parrish District Attorney (later Louisiana Appellate Court Judge) Jim Garrison firmly believed that Thornley worked for the CIA as a contract agent.  In his 1988 book On the Trail of the Assassins,
Like a number of young men who have been identified as CIA employees, Thornley had a post office box in the federal building across from Banister's office. Such post office boxes are customarily used by federal employees with clandestine assignments as "message drops" as well as an acceptable excuse for regular visits into a federal building...Thornley actually lived across Lafayette Square from the old post office building and from the Newman Building, in which Oswald later was seen, prior to his moving into the French Quarter. At the time of the assassination Thornley was living on Dauphine Street a block and a half downtown from Esplanade. Shortly after the assassination he departed abruptly for the Washington, D.D. area, where he remained until after his testimony before the Warren Commission.* 
Specifically, Thornley and his girlfriend, Jeanne Hack, lived at 1824 Dauphine Street with their landlord, John Spence.  Spence was a friend of CIA contract agent Clary Shaw, who had visited the house on occasion.  Despite the fact that he had prepaid one month’s rent, Thornley left New Orleans immediately after the JFK assassination.  Both the Secret Service and the FBI came looking for him in the twenty-four hour period after President Kennedy’s death.

One of Garrison’s investigators, Harold Weisberg, interviewed attorney Tommy Baumler, a suspected associate of Thornley, and an employee of Guy Banister on 9 April 1968.  Baumler told Weisberg that he recognized Thornley when shown a photograph of him, although he could not identify him in another pic published by the Times-Picayune.   According to Garrison and author Bill Davy, Baumler organized faux leftist groups and individuals for CIA for purposes of discrediting them.** 

Thronley characterized Oswald as a rabid, possibly deranged, communist with loyalties to Cuba and the Soviet Union in his testimony before the Warren Commission.  Years later, shortly after the release of Oliver Stone’s 1991 film JFK, Thornley appeared on A Current Affair to say that both he and Oswald wanted to kill Kennedy, and that he was upset because Oswald had beaten him to it–again painting Oswald (and this time himself) as a lone angry nut.  While the interview does show Thornley saying at the end that he thought someone framed Oswald, his story seems so outlandish–Kerry said that he conspired with a mysterious man named “brother-in-law” to assassinate the President–that it seems to discredit a conspiracy hypothesis more than support one.  The overall tenor of his interview, very likely due to the editing process, and the segment itself appear to endorse the single-shooter hypothesis.

While we can assert with a high degree of confidence that Oswald actually knew Thornley–they lived near each other at El Toro–there’s very little evidence that the two men knew each other particularly well, or as well as Kerry claimed.  And there’s considerable evidence indicating that others on the base knew Lee far better.  These men characterized Oswald very differently as apolitical.***

This is purely speculation here, but given his willingness to be the only fellow US Marine to badmouth Oswald so that the Warren Commission could brand Lee a mentally ill commie in 1964, and to come out of the woodwork to confound the issue in 1992 so that a tabloid TV news show produced by Rupert Murdoch's News Corporation could debunk Judge Garrison and Oliver Stone, Thornley comes across as a loyal cold warrior, who primarily served a public relations function.   Of course, if Thornley were the type of paid PSYOP agent that Judge Garrison believed him to be, the question arises as to whether or not his assignments were limited to promoting the Warren Commission’s party line.

Discordianism was never monolithic or coherent enough where one could say that Discordianism did so-or-so at such-and-such and such a time.  Yet, nothing would prevent someone like Thornley or more likely individuals within his circle of associates–especially those with intelligence connections–from cloaking an aggressive attack on the leftist influence of 1960s countercultural leftism in the guise of Eris.     

Mae Brussel, for one, believed that Intel actively worked to undermine leftist dissidence on many different fronts–from infiltration of leftist groups to out-and-out smear campaigns.  She noted how what she called “The California Violences" (Manson, Zodiac, SLA, etc.) seemed to always tie themselves to either the general “permissiveness” of the 1960s, or, in the case of the Symbionese Liberation Army, to faux leftist groups, whose membership backgrounds were either, military (e.g., Bill Harris, Joseph Remiro), intelligence (e.g., Colston Westbrook, Thero Wheeler), or ideologically far to the right (e.g., Nancy Ling Perry).  These incidents not only discredited the New Left (as Intel called it), but gave the public reason to support police excesses and extra-legal efforts to suppress them.

Of course, as I said, the previous three paragraphs are highly speculative.  But some things are not.  In her 2001 book The Cultural Cold War: The CIA and the World of Arts and Letters, Frances Stonor Saunders gave a very comprehensive view of how Intel, the Central Intelligence Agency in particular, understood culture.  She also demonstrated the importance the Agency attached to it.   It’s one thing to control a population through force and intimidation.  But from a strategic standpoint it’s better to have that population regulate itself to conform to the needs of power by providing said population a world view that’s consistent with said needs.  The CIA, early in its mission, understood that conquest meant nothing if you could not win the “hearts and minds” of the subjected.**** 

While Americans generally think of subjective populations as those existing in other lands, we know–not from “conspiracy theory,” but rather history–that the same tactics applied to specific groups within the US.  Another thing we don’t have to speculate about is Intel’s efforts to sabotage the New Left, due in significant part to its anti-war stance.  The Church Committee Final Report and Supplements extensively chronicled CIA, FBI, NSA and military intelligence efforts to squelch political dissidence through surveillance, criminal activity (e.g., black bag jobs). infiltration, and, well, pranks (e.g., false-flag operations; snitch-jacketing; writing bogus anonymous letters to an activist’s family, professors, colleagues or employers so that those closest to the target turn on her, or him; and so on).  While the rationalization had always been national security–the premise that the Soviet Union had sponsored and directed the New Left–the FBI conceded that they knew, as early as 1964, that this was not the case.  The operations were really designed to foster domestic political security within the United States. 

Combining the speculative with the stipulated, one must concede the fact that political and other authorities have (A) historically viewed cultural and ideological dissidence as a threat, and (B) spent considerable effort and resources trying to thwart it.  Discordianism’s possible role in this would constitute unsubstantiated conjecture, for the most part.  Nevertheless, one could see its potential effectiveness in such activities were it used that way.  It’s highly cellularized, so plausible deniability isn’t a problem.  Because of its humor, it is highly charismatic and persuasive.  Moreover, the practical application of its philosophy is consistent with the maintenance of the status quo.  Added bonus: its founder (Thornley) and what would become its public face (Wilson) had associates who worked for Intel, thus making them accessible.  And the beauty part, from this perspective, is that there need be no formal declaration of intention or motive, or any conspiratorial action requiring a highly organized effort.  Instead, a simple utterance of disdain, or derision (mild or vehement) of the target by influential priests could have triggered the desired effect.  The impetus towards one political direction or another could just as easily come from outsiders, who bought their papacies and networked successfully enough.  Thus, those actively throwing rocks at the counterculture in the 1970s would have acted completely under their own volition, for they were not ordered, but instead influenced.   This type of subtlety–which Intel can be really good at, sometimes–would leave no trace of a conspiracy.  That’s because there would have been no conspiracy.  And given the severity of threat that Intel perceived, throwing everything they had to solve the problem makes sense, even if it entails nonsense.

As Shakespeare would say, the past is prologue.  After all, the counterculture of the 1960s has come and gone.  But that’s not to say that dissidence vanished in the new millennium.  In fact, dissidents the world over, from India to Egypt, have utilized cyberspace in ways unimaginable to their mid-twentieth-century counterparts.  In the case of India, the dissidence centered around what you’re doing right now: blogging, a medium that allows anyone to express herself in any way she deems appropriate, unfettered by commercial or cultural gatekeepers, and often (although not always) without government censorship.

The US government defines censorship as “prior constraint,” which means that authorities cannot technically stop you from saying what you want, under most conditions, but can penalize you after the fact for saying it.  The exceptions to this include defamation, possible infringement of other constitutionally protected rights,***** threats to public and individual safety, and, of course, national security items. 

It has been under the rubric of national security that military/intelligence personnel have openly voiced grave concerns about the “free and open” nature of Internet communication.  Just as often, they have looked at the ‘Net as a fortuitous platform for psychological operations.  In their respective papers for the Naval War College, Maj. Angela Lungu and Gary Whitley argued that Congress should eliminate the legal restrictions that prohibit the conduct of domestic online PSYOPs, specifically those contained in the Smith-Mundt Act of 1948.  At the same time, Lungu and Whiteley argued that someone else could use those very same channels of cybercommunication to counter content they deem detrimental to foreign and domestic PSYOPs campaigns.

Like the “communist threat” of the 1960s, the heightened specter of terrorism provides the current rationale for official concerns about political and cultural dissidence.  True, we don’t typically see such things as so-called “conspiracy theory” as dissidence.  We usually think of dissidents in a glamorous way, for example such august figures as Aleksandr Solzhenitsyn, or those behind the Iron Curtain writing and propagating Samizdat publications criticizing the USSR.  Conspiracy research, on the other hand, is often ugly, often bigoted and obtuse.  Yet it is dissidence all the same. Like anything else labeled as dissidence, “conspiracy theory,” on the whole, criticizes apparent abuses of government and industrial power.  The degree to which a particular theory is accurate or in accurate wouldn’t really matter to authorities.  Either way, they’re at best annoying, and at worst could undo carefully crafted public relations:  a critical element in the battle for hearts and minds.

Lest you think that we’re really off the deep end here, the truth is that we are only in shallow water.  Government officials have targeted Internet conspiracy researchers.  As far as we can prove, they have engaged in surveillance against them.  But one government official has gone further in proposing more drastic actions that might have already taken place.

Between 2003 and 2007, The US Department of Homeland Security set up some seventy-odd Fusion Centers, domestic intelligence networks often subsumed under the aegis of local law enforcement agencies encompassing each of the fifty states.  Their ostensive purpose is to provide the FBI, CIA, DHS and other spy apparatuses with timely intelligence on potential domestic terrorist threats in meatspace and online.  The open sharing across jurisdictions allows information that cannot be lawfully obtained in one state to be gathered in another state where the collection is legal.  And since the Internet doesn’t really have borders, an investigator in one state can just as easily access materials written somewhere else. 

Problem is, Fusion Centers haven’t as yet produced anything that would effectively prevent domestic terrorist attacks, despite estimated budgets ranging from $189 million to $1.4 billion dollars annually.  And seeing that the information that they receive from data mining and other methods focuses primarily on American citizens and nationals, the possibility exists that they, like the infamous COINTELPRO, are simply monitoring those critical of US policy. 

In 2008, one such Fusion Center, the Missouri Information Analysis Center (MIAC), reported that it had, in fact, investigated “conspiracy theoristgs” (along with Tea Party members and third party political candidates–other local Fusion Centers conducted similar intelligence ops against students at historically black colleges, Muslims and anti-war activists).  The rationale:  suspected ties to unnamed militia groups whom they deemed potential threats.

Although some might say that these activities only occurred on a local level, and others might point out that the MIAC quickly retracted the report in the face of scathing public criticism, note several things.  First of all, Fusion Centers openly shared information across jurisdictions.  So if Missouri law enforcement officials had it, everyone else in that loop had it.  And we’re not talking about the monitoring of materials produced solely in the Show-Me State, but rather anywhere in cyberspace that local officers could access–which is everywhere.  Second, the MIAC might have retracted the report as a public document, but one would be hard pressed to believe that such a document, or more important the very data it alluded to, simply vanished into thin air.  Third, the fact that some official body thought “conspiracy theory” as a potential security threat is in itself interesting.  After all, even many who abhor them would agree that the expression of conspiracy hypotheses result from cherished principles of free speech, and see nothing terroristic in them unless they advocated violence.

Also in 2008, law professor Adam Vermule (Harvard) and Cass Sunstein, future-Administrator of the Office of Information and Regulatory Affairs (OIRA) under the Obama Administration (formerly of Harvard and University of Chicago), wrote a paper titled “Conspiracy Theories: Causes and Cures” (The Journal of Political Philosophy, vol. 17, issue 2).  The paper itself is so rife with factual error and distorted reasoning that it is quite tempting to take it apart line-by-line here and now.  It’s a flat 85 mph fastball with no movement hanging dead-center in the strike zone.******  But in the interest of (ahem!) brevity, let’s save that deconstruction for later, and focus on the most troubling aspect of it: namely, Vermule and Sunstein’s advocacy for the secret infiltration of online conspiracy research communities, preferably through third party sources:
Hearing only conspiratorial accounts of government behavior, their members become ever more prone to believe and generate such accounts. Informational and reputational cascades, group polarization, and selection effects suggest that the generation of ever-more-extreme views within these groups can be dampened or reversed by the introduction of cognitive diversity. We suggest a role for government efforts, and agents, in introducing such diversity. Government agents (and their allies) might enter chat rooms, online social networks, or even real-space groups and attempt to undermine percolating conspiracy theories by raising doubts about their factual premises, causal logic or implications for political action.
Never mind the fact that the authors are calling for the US government to engage in conspiratorial action in order to disprove the existence of government conspiracies.  What’s important here is that as OIRA chief, Prof. Sunstein had responsibility for implementing a number of regulatory policies.  According to the White House Office of Management and Budget Circular 130, the OIRA is also responsible for the implementation of policies governing information technologies. 

Profs. Sunstein and Vermule debated whether it would be better to infiltrate conspiracy communities openly–i.e., government officials going online, announcing who they were, along with their real positions, and “correcting” information as it came in–or surreptitiously, using sock puppets to plant information that would counter assertions made in forums, blogs, and so forth.  Out of the two, they felt that secret infiltration would work better, because of a possible knee-jerk negative response to any informant acting in an official capacity.  They also felt it would also be better to hire third-party contractors for the work, so that there would be distance from the government.

Thus, we would have no way of knowing if this policy came into effect or not, since it could have been done secretly, or not at all.  But we would still have to note that Prof.  Sunstein proposed a policy.  One year later, the President appointed, and Congress confirmed, him to a position where implementation of that policy fell within his purview. 

Of course, that’s assuming that someone, anywhere in government, might not have embarked upon such a strategy already.  Even if the contracted source gave accurate information, it could be incomplete or so out of context as to be misleading.  Although half-truths are often as deceptive as an out-and-out hoax, they might still satisfy the legal requirements of Smith-Mundt, which basically forbids public officials from openly lying to the public.  So if someone wanted to do that, they could argue they had legal grounds for doing so.  Speculating further, one can note instances that certainly raise awareness, if not suspicion, that something along these lines might be going on.  In his 23 August 2008 interview with S. Miles Lewis, dreamsend gave a tantalizing example when describing someone he had begun interacting with online:
He goes by different user names on any forum he goes on...and he had all these posts already there, before I got there, about alternate reality games.  He had two really long threads that were primarily his data dump about alternate reality games.  And it was just there.  It was like a tutorial.  There it was just waiting for me.  And, you know, this guy could be a whistleblower from inside the beast.  I really don’t know.  But I was going back over all the old comments on my blog.  He also posted on my blog.  And I looked at his IP.  And he’s so careful about his anonymity.  But I looked up the IP and tracked it back to a company called Crane Aerospace.  And I looked them up, and dammit if what they do is not defense contracting, intelligence (specifically they mention intelligence contracting) and primarily what they do is they make little microwave devices   
A defense contractor, especially one that already had clearance for intelligence work, might be an ideal third-party source for the type of policy that Profs. Sunstein and Vermule proposed.  Speculating more deeply, one could wonder if someone like a Joseph Matheny, who has a connection to a Discordian milieu that could boast of redundant ties to intelligence personnel, might also be a suitable third-party contractor, as some have rumored.  Matheny's mocking derision of such communities as cults certainly wouldn't help allay fears that he might have somehow participated in what they perceived as attacks against them.

To be clear, I have no proof that Matheny, Thornley, Hill or anyone else participated in some sort of government program to neutralize political dissidence, either in 1960s meatspace, or the buzz of twenty-first-century cyberspace. My reasons for bringing Thornley, Wilson, Matheny, Discordianism, Sunstein et al to this discussion are threefold.

First, someone writing to my inbox floated an idea, that I had already kicked around.  Imagine, if you will, a cabal of tricksters, or as someone else characterized them cyberbullies, who have little or nothing better to do than to mess with people’s heads online through various shenanigans, and merrily lead them down the garden path to what amounts to a colossal waste of time.  That would be similar to the infamous Discordian Project Jake, the goal of which was to target a civil servant, hit him up with a boatload of letters describing a bizarre problem, and ask for help in “some complicated political matter that passes all rational understanding.”  Perhaps there are other pranksters there–related to the first group, maybe not–who make the gag more interesting by introducing something ominous, something threatening.  Then imagine that the target for the Jake isn’t a civil servant, but say someone who writes about conspiracies. 

The idea floated to me was that Jeremy Blake and Theresa Duncan might have come across such a band of such cyberbullies, or were perhaps victims of a Jake targeting people who could be regarded as conspiracy theorists–not that the couple saw themselves that way, but others (e.g., Dr. Reza Aslan) did.   If so, Blake and Duncan might have seen such pranks not as gags, but threats somehow connected to the problems they concurrently had with the Church of Scientology.  These would have added more stress to an already stressful situation.  While I cannot rule out this hypothesis completely–after all, Wit of the Staircase moderated comments, and as mentioned earlier Duncan did have some heated online discussions--I am not aware of anything like that going on, or of any concrete allusions to it on Duncan’s blog.

The second reason is because of the nature of discord that resulted in the wake of the Theremy phenomenon.  Things like the “UR Doin It Wrong” thread seem particularly consistent with a prank  . A lot of ill will and accusations are flung about, with no clear starting point, although such items as The Last Statue and dreamsend’s research became lightening rods.  This is such an obvious reminder of the golden apple story from Greek mythology, that when reading the thread with that in mind one can actually see humor in it.  It’s not that the consequences were funny, especially to those who had to pay them.  But  the cadence and reactionary statements reminds one of the old practical joke where someone privately disparages person A to person B, then backbites person B to person A, and then sits back and enjoys the sparks as they fly when A and B finally confront each other. 

The third reason is because the historical parallels are so striking as to be worth noting.  In the 1960s, government agencies engaged on a strategy of infiltration in order to discredit political dissent that, among other things, countered the political will to wage offensive war abroad, and questioned numerous official policies in the US, starting with Jim Crow.  Over the past decade, various government actors proposed the manipulation of Internet communication and “cognitive infiltration” of conspiracy researchers in order to neutralize whatever influence they might be able to wield–especially if it ran counter to official PR/PSYOPS efforts.  The general public knew nothing of such things as COINTELPRO, MERRIMAC or CHAOS until years after they had commenced operations.  One could safely surmise that the FBI, CIA and other acronyms would have probably denied these activities were they asked about them point-blank during the time they were operational.  Likewise, the current researcher won't likely find official conformation as to whether or not some government body targeted them.  Nevertheless, because of such things as the 2008 MIAC report, we know that some of them were.  It’s possible that Wit of the Staircase, Rigorous Intuition, or for that matter The X-Spot–all three of which were up-and-running during the investigation in question–might have gotten a looksee from such agencies.  Yet, finding evidence of that would be a Herculean challenge.*******

In each case, the ostensible target was some bugbear that compelled the public to a fear response--sometimes acute, sometimes just a lingering anxiety.  In the Sixties, it was communism.  Now, it’s terrorism.  And in each case, the actions taken or proposed did not, nor would not, result in the deterrence of a violent threat, but would at best compromise civil liberties, and at worse actively silence criticism of official policy–however righteous or wrongheaded that criticism might be.

And in each case, there loomed the real or perceived presence of a merry group of pranksters who have curious historical ties to intelligence personnel, and could possibly be used by anyone–even outsiders–to discredit dissidence by making the activist or the researcher or the group look foolish.

While this (admittedly long-winded) post has been highly speculative, there’s one thing that’s certain.  Some participants of a specific conspiracy community became entrapped and suffered hurtful (some would describe them as traumatic) consequences when they looked into the deaths of Blake and Duncan.  Colleagues lost confidence in themselves and each other.  One participant put it to me quite succinctly in an IM dated 18 December 2012  (slightly edited for format purposes, and quoted with his permission):
Before TD [Theresa Duncan], we all were much more than we are now.  We were strong in our research, even if it was paved out to us by intel; we followed the leads and dug up the dirt and the dead.  It subverted EVERYTHING.  It compromised great minds, blurred dots that once connected devoured focus, devoured interest, devoured energy.  In place of a greater understanding of parapolitics and who/what the bad guys really are, was only this great ambiguity where nothing that is said can be trusted by anyone those who have not reached that reckoning haven't taken the path to its logical destination. In a word, the bad guys get to stay the bad guys, and none of us made a difference at all.
Did Intel have a hand in creating confusion in this case?  Hell if I know.

But here’s one thing I do know: if PYSOPs personnel wanted to neutralize the potential political effects of online conspiracy research, they couldn’t find a better model to work from than Theremy.

 ____________________
*Garrison suspected that Thornley was also one of the “second Oswalds” running around New Orleans and Dallas during the summer of 1963.

**Thornley publicly depicted himself as a far-right extremist during his Marine Corps days, who turned to the left during the 1960s, or in other words after his residence in New Orleans. 

***For example, in his Warren Commission testimony, Nelson Delgado said, “He [Oswald] would discuss his ideas, but not anything against our Government or--nothing Socialist, mind you.”

 "Although I generally regarded Oswald as an intelligent person, I did not observe him to be particularly interested in politics or international affairs," said John Heindel to the Commission.  Donald Camarata, Peter Connor, Mack Osborne and others made similar statements.  So it’s kinda interesting that Thornley’s depiction was the one that stuck.

****Industry also deliberately acted to subvert the anti-materialist aspect of 1960s youth culture. In the early-1970s thirty-nine unnamed corporations funded research conducted by Arnold Mitchell of the Stanford Research Institute, which eventually led to VALS typology, a marketing strategy designed to win the hearts and minds of a younger generation of consumers.

*****For example, judges can issue gag orders if they think that sensationalistic press coverage might prevent a defense or prosecution’s Sixth Amendment right to a fair trial by, among other things, influencing non-sequestered juries, as happened in the case of Dr. Sam Sheppard

******Not unexpectedly, Sunstein, and by association President Obama, have received their share of flak over this paper, which online has come to haunt the former.  Interestingly, Sunstein appears to have backed away from discussing it, claiming that he doesn’t really recall much about the paper’s content

*******Our friend Ray found an example of the Army Corps of Engineers' effort to go after criticism of its handling of Hurricane Katrina in 2005 that you can find on YouTube.  There's another YouTube video of a Canadian news report of online government trolling that you can find here.

The End of a Blog

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I got a snail mail today from Langley.  It reads, in part, as follows:
Mr. Dell (or would you prefer Dr. X?)

We at CIA are most disturbed by your posts, and feel that you have a decided bias that we should correct as soon as possible.

To set the record straight, the Agency is not involved in any conspiracies, nor has it been.  The stories about our documented evil activities (MK-ULTRA, Mossadegh, Robertson Panel, etc.) were all developed by us in order to test how fast misinformation can spread when stipulated to the public and thoroughly documented.  And while some official stories are not true to the letter, they’re close enough.  For example, it’s true that Lee Harvey Oswald did not fire on President Kennedy from the sixth floor of the Texas Schoolbook Depository, but rather from the second floor lunchroom while putting coins in a vending machine–he got off a trick shot that ricocheted three times within TSBD, emerged from the sixth floor window, circled the Stemmons Freeway several times, before striking the President in the front of the head.  Naturally, the sixth-floor story was a simplification for the benefit of the public, who often cannot comprehend the basics of theoretical physics. 

So, you see, you really have nothing to report.  And the Agency is loath to think that you might be besieged by a third-party contracted for online corrections duty.  These operants can be verbally abusive at times (I see, some of them have already been to your page), and have no qualms about informing the public about your various peccadillos (especially since they enjoy making them up).  Yes, they know where you live, but they have no intention of paying you a visit, in the middle of the night, disguised as midget ninjas, and toting AK-47s.  So your future reportage of them will attest to your mental instability.

But take our word for it.  You’re simply wrong.  Worse, you’re a threat to national security.”
Gee.  I never knew all that.  I guess I was wrong. And I’ve wasted all of your time.  I’m so sorry.

In order not to waste any more of your time, I am ending this blog and erasing everything.  Forget everything that you’ve read here.  In fact, don't even read this post.  And have a good life.

The Trouble with Witty Flights: A Review

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Will this scatomancy never end? It's not an ouroborous; it's a circlejerk, from top to bottom.
--Earlier anonymous commenter on this series.

Hmm.  All this time, I thought I had made myriad points.  Perhaps reviewing this series would help clarify them:

1.  The first set of writings were a Preamble, a way to introduce a number of topics that would be important to the story later on.  Among these were the nature of suicidal ideation; the fluid nature of online identity and tricksterism; past and present official efforts to quell public dissent, especially with respect to martial policies; the sexual fascination with pubescent and post-pubescent teenagers manifested by older generations during the 1960s; and, of course, The Last Statue, a novel that became a lightening rod, of sorts, in the upcoming story.

2.  Most important: the story of Theresa Duncan and Jeremy Blake played out as a social drama in a number of different media, among them print (the Vanity Fair, newspaper and other hardcopy accounts), television (the Law & Order episode titled “Boogeyman”), and cyberspace; it will continue to play out on the silver screen with the upcoming movie produced by Gus van Sant and penned by Bret Easton Ellis.  Like other social dramas, it began with an anomalous event–the apparent suicides of two people who seemingly had everything to live for–over which various actors offered a meaning that conflicted with the interpretation of others. 

The contested meaning resolved in different ways, according to the medium and the source. The most disparaging descriptions of Blake and Duncan, both in life and death, betrayed a consistent ideological bias.  This offers some indication of the political meaning of Blake’s artwork and Duncan’s writing, or at least the meaning that some might take from each.  And this bias seemed to take the most solid hold in traditional media.

The Internet featured a couple of different narratives that tended toward conspiracy explanations–not that surprising, since Blake had discussed conspiracy hypotheses with friends, and Duncan posted items about conspiracy topics (e.g., MONARCH, MOCKINGBIRD, etc) on her blog, Wit of the Staircase.  The first, articulated in such posts as ““Duncan & Blake ‘Suicides’ Solved: The Omaha/Des Moines Allegations, MediaBistro.com Data Mining and the CIA,” by Alex Constantine, and “After the Ambulances Go.” by Jeff Wells, explored the possibility of murder.  The latter did this by calling into question some of the particulars, especially in regards to the discovery of Duncan’s body.  The former concentrated on the deep connections between various people associated with the couple. 

The remaining narrative, the ARG angle, was explored as a possibility in situ.  Although the originator into this line of research backed off the initial hypothesis as more information came in, the possibility of using Blake and Duncan’s deaths in a fictional way, or in a game, still loomed.

While all three of these narratives have obvious weaknesses, they also have strengths, some of which aren’t quite so obvious.  Moreover, when one takes a closer look at them, he or she can note that they aren’t completely inconsistent with each other, since each addresses disparate aspects or topics in the story.

3.  The next part examined the specific claims Duncan and Blake made during their lives.  While these claims were undoubtedly wild, some were actually quite plausible, especially when compared to documented and proven cases alleging harassment by the Church of Scientology.  Other alleged threats are harder to assess.  Because many people–including many depicting themselves as friends–dismissed plausible harassment as outright paranoid, the other claims are filtered through this one. 

We can speculate that the couple exaggerated the degree of harassment.  We can just as easily speculate that no one close to them took the other claims seriously because of what Bake and Duncan said about Scientology.  What we don't have to speculate about is the fact that a private investigator employed by the Church of Scientology participated in the writing of an influential article that mocked the couple's criticism of the cult.

4.  The contested meaning of these events led to rancor among those examining the lives and deaths of Blake and Duncan.  A division occurred that historically paralleled some of the divisions that surfaced decades ago, when anti-war and New-Left factions found themselves at odds over fine ideological points and tactics.  Compounding this social fissure were official policy proposals that cited conspiracy research as a vague threat to national security, and outlined measures to stop it.  The effect of such policies, were they put into effect (assuming that they had not), would undoubtedly be quite similar to the most contentious parts of the Theremy phenomenon.

5.  So, that leaves us with the question of what actually happened to Blake and Duncan.  Public information about this is somewhat sparse, despite valiant efforts by a few researchers (namely, some of the contributors to this series) to ferret out more information through good old-fashioned gumshoeing. These data indicate a number of things, some speculative, some not.  While the speculative isn’t provable, it does affirm a credible storyline, parts of which were documented by the press, and by Duncan herself.   

The Trouble with Witty Flights: The Existentially Modern Postmodern Couple

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As I was saying....

A professor once asked me to define ‘postmodernism’ in twenty-five words or less.  My reply: “Beats the hell out of me.”

That’s six words.

Seven years later, I still can’t define postmodernism in twenty-five words, or for that matter twenty-five pages.  Nevertheless, I’ll try to relay some thoughts on it in order to contextualize the creative works of Jeremy Blake and Theresa Duncan.

Like many artistic, philosophical or cultural movements, postmodernism is a reaction to, or against, other artistic, philosophical or cultural movements.  Yet there is something unique about it.  Younger movements usually push their way through the older ones and ultimately replace them.  For example, the ornate gaudiness and ostentatious grandeur of the Baroque and Rococo ceded, chronologically, to the measured restraint of the Classical era, and the rationality of the Enlightenment.  Postmodernism, on the other hand, chiefly reacts against a couple of contemporary movements: to a small degree existentialism; and to a much larger extent, modernism.

Okay, you’re probably wondering now what the smurf is modernism.  My reply’s consistent:   beats the hell out of me.

Generally, modernist texts and philosophies tend toward the rational.  Some see them as an outgrowth of eighteenth-century Enlightenment positivism, an optimism that mankind can discover, dissect, define and catalog empirical truth.  This, in turn, leads to the acceptance of master narratives and taxonomies, general concessions about what constitutes reality and causality.  Meaning and validity, in this sense, derives from the instance or being of something compared to its logical place within said reality. Items that do not fit into this construct, more or less don’t exist. 

Postmodernism usually entails a critique on the fundamental assertions of modernism, assuming one can actually separate the two.* Among other things, postmodernism calls into question the verification of empirical truths, and consequently master narratives.  Whereas one would see modernist thought in terms of objectivity, the postmodern would see greater validity in a subjective reality.  As opposed to a modernist belief in truth according to a universal construct, the postmodernist would more likely see truths as localized (to a philosophy, nation, family, or even the individual) and non exclusive.  What’s true for you, might not be true for me, and both our positions could be equally valid.  Instead of asserting a specific realism with a high degree of confidence, the postmodernist would be more comfortable with incongruence–in other words, the acceptance that something can simultaneously be understood and unknown within different localized spheres.  For example, what is known to the American might not be known by the Iraqi, and vice versa.  While modernism is dedicated to something called “progress,” postmodernism would ask “Toward what?”

Und so weiter.

Figure 1.  Still from Winchester


When looking at something like Blake’s Winchester Trilogy we see a very potent critique of master narratives, some of which Blake himself articulated.  As he said in an online interview dated 9 August 2005:
It reminded me of the American obsession with massive scale and the sort of upper class monster houses that are being built in contemporary suburban America. I liked that the first one was build [sic] to house ghosts, because it captures something truly American about how we are working hard in this world, to get to the next. And then there is also the obsession with protection from unseen threats, which has become present again.
Here, Blake openly questioned a master narrative many call “The Protestant Work Ethic,” “The Protestant Ethic,” or, as I prefer to call it, “The Protestant Success Ethic.”  This particular narrative originated in Calvinistic thought that believed in a Doctrine of the Elect. the idea that salvation from Hell came not from your good deeds, or because of your steadfast faith and piety, but simply from God’s decision to include you on the guest list.  No reason given (or as adherents would say, “God’s will hath no why.”)   Over the years, the idea morphed into a secondary one, namely that God showed His favor to the elect through material wealth–and the subsequent power that entails.

The critique is even more striking when looking more closely at the subject matter,   As the story goes, rifle heiress Sarah Winchester (left) consulted a Boston medium about the evil spirits haunting her house.  The psychic told her they were the ghosts of all the people killed by the Winchester rifle.  To appease them, she would have to build them separate rooms in her mansion, where they could live by themselves, and the hell away from her.  So she added on room after room after room until she finally passed away in 1922.  The house, lacking a master plan, became an unwieldy mess, with numerous dead ends, and staircases that don’t lead to anywhere except the ceiling.

Of course, we here in the Twenty-First Century would tend to interpret the spirits not as ghosts, but as Winchester’s own raw guilt.  Let’s face it.  Unless you use it to shoot tin cans off the back fence, or in the freefall vacuum of outer space you utilize the recoil action as a means of propulsion, a gun’s only good for violence, or the threat of it.  Given an industry that thrived on the brutal death and suffering of others–for the most part belonging to a class not her own–we might subsequently see irony.  Election itself was inadequate for salvation, as the heiress literally tried to buy stairways to Heaven.

Or so the story goes.  On 1 May 2013, Winchester historian Richard A. Wagner posted an article on his website arguing that the popular story of Winchester’s guilt had no basis in fact, and was actually an urban legend.** Yet, postmodernists would argue that whether or not the story is factually accurate, the legend nevertheless exists.  Moreover, because we’re talking about subjective reality, as opposed to objective reality, the legend becomes just as valid or as real as the actual story.  It could even, perhaps, be more real.  One could argue, for example, that if the Sarah Winchester story is factually inaccurate, there have been plenty of other war profiteers.  Unless they’re all psychopaths, you’d have to think that some of them might have felt guilty about how they paid for their lives on Easy Street.  So if Blake erred in terms of assessing Winchester’s state of mind, he most likely nailed someone else’s.  As an artistic work pregnant with ideological meaning, the Winchester Trilogy delivers a narrative that, if not literally true, is still allegorically true, and in such a way that’s powerfully inescapable. You can’t look at it and miss that message.

Another tenet of postmodernism runs along a similar line.  Many would suggest that the mass-mediated event is just as real–if not more so–than the unmediated event.  If your favorite NFL team, for example, won the Super Bowl, would it be any less real for you watching the game on TV than it would be were you sitting in the stands?  Think about it.  If you’re up in the nosebleed section, you’re not going to have a very good look at the action unless play is right in front of you.  And if you’re sitting in the endzone, you won’t hardly see anything until someone’s about to score at your end.  Contrast that to the experience of watching the game on TV, where you can hear commentary by professional announcers, see instant replays, in slow motion, and from multiple angles.  Where you can actually see the player’s faces under their helmets.  And, if you have TIVO or a similar system, you can manipulate the experience yourself to a small degree.  Of course, nowadays, most major sporting events have TVs on site to provide instant replays and other media content, and it’s purpose is just the same for the fan at home–the mass mediated experience of watching a replay on the Jumbotron validates what you just saw with your own naked eyes.  In other words, it reinforces the reality of the experience.

Another master narrative that Blake openly questioned in the Winchester Trilogy is the one that describes the methodology of art.  Postmodern views on artistic creation often champion the dismissal of rules, conventions, formalities and so forth.  Yet for Blake, the tools used to create visual art, their usage, and their purpose were up for reinterpretation.  As he stated in the aforementioned interview, when the questioner attempted to draw strict lines between documentary and art:
A documentary would be fascinating, but I'm not interested in being an historian. As an artist in a site like that, I would rather try to draw some sort of meaning. The way I did that was to show what I thought was the psychology of the builder of this house. In other words, what interests me was the neurosis of this person and the poetic powers of what they build, rather than the history in a more straightforward way. Sort of like the alchemist expression of the prose, where you're trying to show the motivation and psychic of the character by interpreting the surroundings.
In his use of video and animation, Blake, in effect, created three-dimensional images.  While we normally think of three dimensions in terms of length, width and depth, there’s also the fourth dimension of time.  Video allowed Blake to unfold patterns of length and width–what we would see as two-dimensional space,–in time, bypassing depth as a third dimension, similar, in a way to Picasso’s Light Drawings (right).  Had he lived long enough to have witnessed the technological breakthroughs in 3D-imaging, Jeremy could very well have created four-dimensional paintings.  Of course, the master narrative of modernist interpretation defines a painting as a two-dimensional medium that only simulates three, sometimes four dimensions, and would therefore tend to view such works as Winchester and Sodium Fox as representative of another medium. And if we accept the postmodern understanding about the validity of mass-mediated experience, then the manipulation of that experience–especially by eschewing the previously accepted means for producing it--could also be valid.

In other words, the ideological statements inherent in an artwork don’t necessarily derive from any overt message, which might come across to an audience as preachy, but in the construction of the artwork itself.  The degree to which the artist is consciously aware of what he or she is doing would depend on the artist.  Still, on the unconscious level an artist such as Blake, who received a good deal of formal training, would realize that he’s breaking rules, or that he’s actually challenging the validity of the rules, or the definitions.

And it’s in this vein that when we take a look at the creative output of both Blake and Duncan, we can discern a number of postmodern influences.  Chop Suey, for example, blurs the distinction between gameplay and storytelling.  Moreover, unlike more modernist structures of narrative, where we have beginnings (expositions), middles (developments) and ends (climaxes) spun for us by the author, it’s the player who gets to choose where the story will go.  There’s no set chronology of events, so a lot of how it plays out would be beyond the control of its authors, namely Duncan and Monica Gesue.

We can also see a bit of the postmodern ethos in Blake and Duncan’s collaborations: some in their “Closet Cases” episodes, and a whole lot in A History of Glamour, where there’s deliberate toying with verbal language and symbols.  Looking at Wit of the Staircase, the fabled blog that launched a thousand blogs, we not only see a postmodern influence, but the very clear influence of an author whose works often serve as a prime example of postmodern literature.  And like other literature described as such, it features an ongoing critique on art and culture that reveals an ideological meaning of its own.

______________________
*Citing Eye magazine founder Rick Poyner’s book No More Rules: Graphic Design and Postmodernism, one blogger wrote:
Poynor writes that postmodernism can not be understood without reference to modernism, while the ‘post’ prefix might seem to suggest that postmodernism comes after modernism, or that it replaces or rejects it, many commentators point out that postmodernism is a kind of parasite, dependant on its modernist host and displaying many of the same features –– except that the meaning has changed.
**Wagner explained that the elaborate and bizarre architecture resulted not from hauntings or guilt but from Masonic and Rosicrucian beliefs (Winchester belonged to both orders).  As such, the building’s very design is an encryption of sorts, and actually has some coherency when viewed in that light.   

The Trouble with Witty Flights: Tickling the Master’s Creatures

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You never did!
–The Kenosha Kid

In a 6 February 2006 interview for LAist, Adrienne Crew queried Theresa Duncan’s opinion on the “Best LA-themed book(s).”

Duncan’s reply: The Crying of Lot 49, by Thomas Pynchon.

What Duncan saw in the novel, or why this came to mind in response to that particular question, only she would know.  As far as we know, her answer gives us some insight with respect to her blog.  While we’ve mentioned others during this series--most notably Vladmir Nabokov’s Lolita--the Pynchon influences on Wit of the Staircase become even more noticeable and redundant after awhile.  And to some extent seem to affirm many other allusions, including those to Nabakov.

If you search the blog’s bio page and scroll down a bit, in the left hand corner you’ll see a series of quotes from another Pynchon novel, namely Gravity’s Rainbow, specifically what the author referred to as “Proverbs for Paranoids.”  They read as follows,

1   You may never get to touch the Master, but you can tickle his creatures.

2.  The innocence of the creatures is in inverse proportion to the immorality of the Master

3.  If they can get you asking the wrong questions, they don't have to worry about answers

4.  You hide, they seek.

5.  Paranoids are not paranoids because they're paranoid, but because they keep putting themselves, fucking idiots, deliberately into paranoid situations.
Anyone who’s seen intrigue up close will chuckle and nod her head upon reading these.  The book itself is almost a paean to paranoia, much like the Wit of the Staircase posts endorsing Rigorous Intuition. 

In his 1987 book Postmodern Fiction, Brian McHale described Gravity’s Rainbow as “literally an anthology of postmodernist themes and devices.”  As such we can detect a somewhat knee-jerk rejection against storytelling conventions, with long digressions on subjects that might, or might not, have some kind of meaning later on, numerous characters who come in and out over the course of a novel that’s almost 900 pages, a bizillion subplots, rhapsodies on linguistic wordplay, the occasional breaking down of the fourth wall, and so forth.  It’s the tendency of postmodernism to reject master narratives, one of the most critical here being the distinction between high and low art, or highbrow, commercial and lowbrow culture.  The postmodernist would most likely see them as equally valid.  Not surprisingly, one finds, that in Gravity’s Rainbow Emily Dickinson shares equal shrift with Porky the Pig, exquisite discourses of mathematical, philosophical, artistic principles are juxtaposed in equal measures with vulgarities that would make Richard Pryor blush--and that’s saying something. 

If you want to know what it’s about, or in other words its plot, then good luck.  Pynchon doesn’t clarify to what extent the events in the book happen, and to what extent they exist only in the mind of the protagonist, or perhaps someone else.  But the most straightforward storyline follows the adventures of  Lt. Tyrone Slothrop (USA), and for the lack of a better explanation, his lone super power.   Stationed in London during the days of extensive V2 attacks toward the end of World War II, Slothrop becomes (um) sexually aroused in the very spots that the rocket will land, within a time frame of ten days (four and a half days, on average).  This allows the psi branch of British Intel, known colloquially as the White Visitation, to make Ty the subject of a long-term research project.  The White Visitation consists of an amalgamation of paranormal and psychological researchers, conducting everything from Pavlovian experiments on dogs to seances. The psychiatrist in charge of his case, Dr. Pointsman, utilizes such spies as statistician Roger Mexico and Slothropp’s best friend, British officer Tantivy Mucker-Muffrick in order to keep the operation’s methodology and purpose a secret.

By the time he takes his furlough at the Herman Göring Casino, Slothrop has already caught on that someone is conspiring against him.  So he tricks a bunch of British officers into playing a drinking game, plying them with champagne until a pair of loose lips drop some startling revelations.  For the most part, Slothrop follows up on this info, hunting for more proof about his own private conspiracy.  It appears to revolve around the events of his childhood, and his wealthy family’s connections to, among other things, the I.G. Farben corporation.  We later discover that an I.G. Farben scientist, Dr. Laszlo Jampf, immigrated to the U.S. after WWI, and used Slothrop--with the approval of his father--as a guinea pig for psychic experimentation.  Specifically, Dr. Jampf conditions Slothrop to go “beyond” zero awareness, to a state of, I guess, negative awareness.  Unfortunately for him, Tyrone has been sent on a snipe hunt for such things as rocket 00000 and the Scwartzgerat (black device).

The themes of paranoia, predestination, power and the tenuous nature of reality found in Gravity’s Rainbow, and to some extent The Crying of Lot 49,  find parallels in the posts of Wit of the Staircase.  They’re too numerous to list in a short space, but in the next post, I’d like to go over them in order to show something about Wit of the Staircase, and in doing so argue that the blog, like Jeremy Blake’s Winchester, was rife with ideological significance. 

The Trouble with Witty Flights: Gravity’s Allusions

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A number of items appearing in the works of Thomas Pynchon find echoes in the posts on Wit of the Staircase.  Some of these seem to be throwaways.  For example, in Gravity’s Rainbow, Pynchon made a number of offhand references to absinthe or its main ingredient, wormwood.* Absinthe references appear in such posts as “Eye’ll Be Your Mirror” (13 December 2006), “The Green Fairy: The Los Angeles Lunar Society’s Contraband Christmas” (13 December 2005), and “Laudanum, Ladies” (27 July 2005).*  

Likewise, there’s a breadth of subject matter that both Gravity’s Rainbow and Wit of the Staircase share, among them fine art (especially music and film), literature, science, recreational drug use, philosophy, Freudian analysis, popular culture, and, believe it or not, electronic gaming.** Curiously, both give lip service to the history of electricity.  Duncan tagged a number of posts as such.  Pynchon discusses electricity in two points in Gravity’s Rainbow.  In one scene, an undertaker dresses up in a metal suit during a raging thunderstorm in order to get struck by lightning--so he can better sympathize with bereaved families who lost a love one that way.***  In another scene, we find that Lt. Tyrone Slohrup, as a young boy, was an “electricity freak,” an addict to electrical experimentation.

These allusions don’t appear to have a narrative function in and of themselves.  Yet, they call attention to the fact that Pynchon had indeed influenced Duncan, and perhaps that’s the point.  These references, overt and subtle, invite a closer reading, with the promise of a deeper subtext around every corner.***

Other allusions are more substantive, but so numerous that it’s difficult to know where to start, and more importantly, where to end.  But to list some of the more important ones:

Allusion 1:  The Tenuousness of Reality

The Crying of Lot 49 forces its protagonist, Oedipa Maas to continually wonder if she sees what she thinks she sees.  Does the mystery mail service Tristero exist?  Is it a figment of her imagination?  Is she reading too much into all of the clues--the stylized horn logos, and the D.E.A.T.H (Don’t Ever Antagonize the Horn) graffiti she sees everywhere?  Does she accurately remember the events?

At times the Wit of the Staircase delved into what some would call paranormal subjects.  It’s here where we see her posing questions similar to Oedipa’s in such posts as “Best Ever Footage of Loch Ness Monster Recorded this May” (18 June 2007), or “Kubrick’s ‘2001' Interviews” (23 October 2005).  Outside of paranoia, there is a recurrent theme of something like Tristero, an entity that lies either at the threshhold of reality, or beyond human perception.  In this category we can put such posts as “Sitting at the Feet of Ghosts: Pseudobiblia, Libris Fantastica and Artifactions” (15 October 2005), about a library containing books that only exist in fiction, or “With Every Shrill Denunciation Comes Increased Sales [NSFW link]” (19 October 2005), which features a quote by Serge Gainsbourg about an example of simultaneous fame and obscurity in the case of a bonafide hit record that no one ever heard of.

One would probably find it difficult to escape the parallels of this theme in the actual lives of Blake and Duncan.  They relate disparate actions, taken by others, and might have wondered if they’re simply reading a deeper connection into things, or if they’re really seeing what they think they see.  Privately, they might not have expressed doubts;  according to some of the folks quoted by Kate Coe and others they had no doubts.  While Coe would more or less characterized these as fairy tales, the reader faced similar questions as to whether or not Blake and Duncan’s beliefs had some basis in an objective reality.  Did the Florida license plates they witnessed near their Venice home necessarily mean that the Church of Scientology tailed and harassed them?  Did the presence of Anna Gaskell’s brother near their Venice home, or the subsequent appearance of Dr. Reza Aslan on their doorstep indicate some sort of Iowa connection?  Did Duncan’s past political activism make her a target for continued surveillance?  Did Blake’s Winchester trilogy spark the animosity of powerful people inside and outside of the artworld, as Duncan hinted in “The Trouble with Anna Gaskell.”

As an outside reader, we cannot readily assess the accuracy of any of these reports.  Were any of them true in any other manner than subjective reality, then we would see these as sources of pressure.  It’s clear that the couple saw them as such.  Yet we are left to ask how real these connections are, or if they actually saw what they thought they saw.  By the same token, as dreamsend aptly demonstrated, and as I am attempting to demonstrate now, one can see a discernable coherence in the posts on Wit of the Staircase.  Does that mean a deliberate attempt by Duncan--with or without the assistance of others--to make a coherent philosophical or ideological statement?  Might it mean that she unconsciously alluded repeatedly to a semiotic milieu that one could interpret in such an such a way?  Could it mean that I am imposing a meaning unintended by Duncan.  Of course, I can take my guesses, and with a certain measure of confidence.  But I admit that I can never be sure.


Allusion 2:Paranoia

Myriad characters in Gravity’s Rainbow exhibit a profound paranoia of one type or another.  The paranoiac viewpoints have varying degree of validity.  For instance, one character, Otto, believes in a huge mother conspiracy, where all of the mom’s meet in conferences once a year, swap recipes, collude in how to keep their kids under their thumbs, and so forth.  Other conspiracies were not only credible, but historically proven beyond a reasonable doubt standard, among them the unsuccessful German plans to exterminate the Herero during the first decade of the Twentieth Century, and the systematic efforts to exterminate Jews, Roma and others the Nazis deemed inferior forty years later. 

In terms of protagonist Ty Slothrop, we cannot adequately assess whether or not his paranoia has any basis.  That’s because we cannot say for certain that the events described in the novel actually took place, or if they merely represent Slothrop’s scattered psyche. Assuming that most of the novel’s events actually take place (within the novel’s internal reality), then we would still see some of Ty’s paranoia as off the deep end.  For example, late in the novel he begins to believe in a father conspiracy, where he flashes back to a childhood in which his dad hunted him with a rifle for sport.  Yet, by the same token if the novel’s events take place, then we know that Slohrup is in the middle of a conspiracy, for we see Dr. Pointsman planning it, Tantivy and Bloat executing it, and Roger Mexico, Pirate Prentiss, Enzian, Katje and Pig Bodine trying to rescue him from it.  And if that conspiracy indeed existed, Slothrup's father played a role in it by contracting him out to serve as Jampf's guinea pig.

We have already explored the paranoid content of Wit of the Staircase in previous posts--from Operation MOCKINGBIRD, the putative Operation MONARCH, to “The Trouble with Anna Gaskell.”  Yet if we take a look at Pynchon’s “Proverbs for Paranoids,” we could immediately apply them either to the blog or to the situation that both Blake and Duncan described to others, and which Theresa described on WotS.

1   You may never get to touch the Master, but you can tickle his creatures.

In the comments section of “The Trouble with Anna Gaskell,” Duncan mentioned that she was working with a California-based researcher on the connections Cownie had to Intel.  One could easily speculate that the researcher in question was Alex Constantine, who provided them in painstaking detail after Theresa and Jeremy’s deaths.  The real power, or in other words the real connection to people who could call shots and get things done, were not within the reach of Duncan.  But they could draw a bead on Cownie, in large part because of Blake’s personal knowledge of the man.  In essence, they didn’t see the real power.  But they saw it behind him, and subsequently behind Gaskell herself.

2.  The innocence of the creatures is in inverse proportion to the immorality of the Master.

Duncan seemed to regard Gaskell as an innocent, and a victim–in contrast to the immorality she inferred upon Cownie. 

3.  If they can get you asking the wrong questions, they don't have to worry about answers.

There are posts on Wit of the Staircase that examine the usage of language, among them a cut-and-paste job written by Guy Trebey of The New York Times that alludes to gerunds.  The language we used to describe things often determines what they are.  If you’re not hip to the nuance of language, you can very well ask the wrong questions and get the wrong answers.

But to a greater extent, this notion might better explain Duncan’s view of conspiracy theory in general.  Although praising Rigorous Intuition, she somewhat smirkingly chides the UFO question.  It’s not as though she’s the first conspiracist to think of ufology as a dead end.  And, of course, there are other conspiracy issues that seem to take lives of their own, and away from anything one could construe as plausible. 

4.  You hide, they seek.

In “The Trouble with Anna Gaskell,” Duncan reported that she and Blake saw Anna’s brother, Zach, near their home.  She also mentions in the comments what she depicts as a threatening encounter with Dr. Reza Aslan, who, like Gaskell, had an Iowa connection.

This particular proverb, however, might find more meaningful connection to the couple’s life experience, when, perhaps in an effort to get away from what they might have construed as a threatening life in California, they moved back to New York.  Yet here, Duncan still believed that she saw cars tailing them, 

5.  Paranoids are not paranoids because they're paranoid, but because they keep putting themselves, fucking idiots, deliberately into paranoid situations.”

More of the above.  Of course, the irony here is that they left a tense situation, rife with paranoiac fodder, to live in an apartment that they got, in no small effort, because of Father Morales, a priest deeply knowledgeable about “conspiracy theories.”  Moreover, he was quite active in the inquiry into 9/11, which in itself was a fairly boisterous, aggressive, and somewhat erratic movement that had really developed its own orthodoxy.  In other words, it would seem that they moved from the frying pan into another frying pan. 

_______________________
*In one scene, Lt. Slothrop humors an elderly woman by sipping wormwood tea, which he finds particularly nasty.  This is followed by the subsequent downing of these stale, exotic candies which are even worse.  In another scene, a grouping of soldiers is compared to the ritual process of drinking absinthe, pouring water over a sugar cube until the liquid turns the color of milk.

Part of absinthe’s lore alluded to its putative hallucination-inducing qualities, unparalleled in other alcoholic beverages--sort of a nineteenth-century version of the acid trip.

**Slothrop’s American handler, Lyle Brand, endears himself to the Freemasons by arranging for an I.G. Farben engineer to repair their broken pinball machines.  

***In a 10 October 2005 post titled “Venice California: Chris Burden’s Doorway to Heaven,” Duncan quoted a man who had experienced a severe shock, one that immediately brings to mind the undertaker scene in Gravity’s Rainbow.  In each instance, the point was the expansion of consciousness, or the attempt to expand consciousness.

****And by a certain point, Duncan explicitly--well, as explicitly as she said anything--gave the reader license to read anything into the posts contained on WotS.  In another cut-and-paste job titled “Overinterpretation as an Amazing Art Form: The Walrus Was Paul,” she focused attention to the renewed interest in the Paul-Is-Dead Rumor, As a woman who’s prominence came from non-traditional storytelling, we can see why she might be fascinated by the narrative branching out that comes from a story such as that.  And, as we have written about earlier the invitation to speculate most likely came from the deliberate design of the Beatle’s support staff.

The Trouble with Witty Flights: Gravity’s Allusions , Pt. II

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Edited 8/1/13

Allusion 3: Profundity vs. Absurdity.
Absurdity, with respect to existentialist philosophy, denotes the condition brought about by the conflict between human need, and the indifference of the cosmos.   Part of this human need pertains to seeing meaning where there is in fact only chaos or pure randomness.  While the existentialist might be the first to say, “Shit happens,” someone critical of that perspective would feel that everything has a deeper meaning.

One of the themes we come across in Gravity’s Rainbow is the notion that everything does in fact have a deeper meaning.  In a postmodern sense, maybe its because we imbue meaning onto everything–after all, there’s no master narrative in postmodernism that would construct reality on an external basis.  In terms of the plot we have ample reason to know that what Slothrop suspects is a conspiracy against him is far greater than even he can imagine.  Yet, in a subtle way, we see repeated instances of what we might consider divine justice.  For example, in one scene, Slothrop escapes a raid by donning the uniform of his nemesis, Maj. Marvy, a racist American Army officer who for unknown reasons has chased Slothrop since the second book of the novel.  More divine justice:  because the Major no longer has his uniform, he has to wear Slothrop’s getup, which at this time is a giant pig suit.  Believing he’s Slothrop, The MPs take him into custody believing he’s Slothrop, put him under anesthesia, and castrate him.

To put it bluntly, Thomas Pynchon is mocking the absurdity of absurdity here.

On Wit of the Staircase, you can find two links in the sidebar titled “Esoteric” and “Religion.”  In these two tags, you can get a sense that Duncan argued against randomness, or in philosophical terms offered a rebuttal of absurdity.  After all, she isn’t critiquing religion, nor is she discussing it in abstract clinical terms, like an anthropologist would do.  Instead, there are hints of passion, in defense of the religion, spirituality, or the thought that there is an intelligence to creation.  For example, in a cut-and-paste post put up on 18 June 2007, she quoted literary theorist Stanley Fish as saying:
This does not mean either that the case for God and religion has been confirmed or that the case against God and religion has been discredited. (Despite what some commentators assumed, I am not taking a position on the issues raised by the three books; readers of this and the previous column have learned nothing about my own religious views, or even if I have any.) My point is only that some of the arguments against faith and religion –– the arguments Dawkins, Harris and Hitchens most rely on –– are just not good arguments.
Earlier in this post, she quoted Hebrews, Chapter 11, verse 1:
Now faith is the substance of things hoped for, the evidence of things not seen.
Perhaps more poignant, or chilling depending on how you look at it, is what Duncan posted approximately twenty-four hours before her death.  In “ Wit and the Warrior Heart: What Tarot Card Are You?” we learn that at some reading Duncan has pulled the Emperor Card. 
In the near future, you need to be willing and able to defend those you love. This may be the time for you to step up and be the authority figure to those around you.  It is time for you to be independent, to become your own person.  You may need to look at your relationship with your father, or your relationships as a father.
Not only do Tarot cards play a large role in the imagery of Gravity’s Rainbow, but in this case, knowing what is to transpire over the next twelve hours of Duncan’s life, we can seen this as having a clear and profound meaning for her.  Hours after that post she and Blake would be meeting with author George Pelecanos and producer Cary Woods in order to discuss Jeremy’s helming of a film based on the former's novel, Nick’s Trip.  One could reasonably think that the tarot card post might have had something to do with the role that she intended to play that night. 

Allusion 4.  Hebophilia

While the theme of middle-aged men sexually preying on pubescent and post-pubescent girls comes through clearly in Vladmir Nabakov’s Lolita, the issue also constitutes a sub-theme of Gravity’s Rainbow.  In one pivotal scene, protagonist Slothrop has sex with Bianca, the twelve year-old daughter of his current paramour, a Weimar era pornstar who only hours earlier had engaged the child in an S&M show that sent a literal boatload of people into orgasmic ecstacy.

As noted numerous times in this series, Wit of the Staircase is also rife with allusions to hebophillia, often in conjunction with the putative Project MONARCH.  While to some extent one can see her concern about this issue as a response to what she suspected about Blake’s ex-girlfriend, Anna Gaskell, the recurrence of this theme led some to speculate whether or not Duncan herself suffered from sexual abuse.  One informant called my attention to a post dated 1 May 2006, another cut-and-paste job quoting sixteenth-century writer Philip Stubbs:
Against May, Whitsunday, or other time, all the young men and maids, old men and wives, run gadding overnight to the woods, groves, hills, and mountains, where they spend all the night in pleasant pastimes; and in the morning they return, bring with them birhc and branches of trees, to deck their assemblies withal. And no marvel; for there is a great lord present amongst them, as superintendent and lord over their pastimes and sports, namely Satan, Prince of Hell....I have heard it credibly reported (and that viva voce) by men of great gravity and reputation that of forty, threescore, or a hundred maids going to the wood overnight, there have scarcely the third part of them returned home again undefiled.
The informant also pointed to the repeated reference to the Steely Dan song “Rose Darling,” which contains the following lyrics.
Rose darling come to me
Snake Mary's gone to bed
All our steaming sounds of love
Cannot disturb her in her night

Or raise her sleeping head
All I ask of you
Is make my wildest dreams come true
No one sees and no one knows
Because we know, from a later verse in the song, that Snake Mary lives in Detroit, we might infer a link between Snake Mary and Theresa’s mother, Dr. Mary Duncan, who lives in the general area of Detroit.  The lyrics here depict sexual activity during which Snake Mary sleeps through, and thus has no knowledge of.  Conceivably, the last time Theresa and her mother lived under the same roof was in her high school or early college years.

This doesn’t make a particularly compelling case that Duncan herself was abused during this time.  But it is consistent with a persistent theme of the blog, that culminates in “The Trouble with Anna Gaskell.”  While one can discern a second, more overtly political message in this allusion, part of the intrigue that resulted from WotS came from repeated references to the putative project MONARCH, which, as mentioned numerous times by now, served as a recurring theme.

The Trouble with Witty Flights: The Few and the Damned

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Warning: Spoiler Alert.
I’m gonna make it to heaven.
Light up the sky like a flame.
Fame!

I’m gonna live forever.
Baby remember my name.
 
–Michael Gore and Dean Pitchford, “Fame” (from the movie Fame)


All that attention they gave you.  It’s called lovebombing.  It happens in all cults.            
–Dee, The Golden Ganesh
Allusion 5:Election vs. Preterition
One theme of Gravity’s Rainbow, reiterated time and again, revolves around who is special or important, and who isn’t.  In some respects this taps into the Calvinistic bent towards Election, the belief that God only chose a few for salvation, and condemned the rest to hell. Yet, it’s hard to tell who’s who in this in the novel, allegorically speaking. 

For example, the novel features a group of German soldiers, the Scwartzkommando, expatriated Hereros who once lived in the Sudwest colony (present-day Namibia).  The real-life history of the Hereros includes their near genocide at the hands of their supposed German protectors in 1905.* While one can look at the Scwartzkommando as survivors of this holocaust, maybe chosen by fate for some greater purpose, there is a feeling among some of them that they were “passed over;” or in other words damned to have survived, only to produce more victims for German colonialism.  In fact, one of them, Joseph Ombindi, feels they ought to complete the genocide themselves not necessarily through suicide but by actively aborting any future generations.

Another example: Gottfried, an effeminate German soldier bullied by his comrades, is chosen by his CO, Capt. Weissmann, first as a sex slave, and later as the sacrificial lamb enclosed and launched in a special rocket, number 00000.  Almost needless to say (but we’ll say it anyway), if a guy were actually inserted into a rocket, managed to survive the explosions required to set the damn thing off, not to mention the g-forces upon launch, or the hypothermia while in flight, then he’s still pretty much toast once the missile makes impact upon land.  In other words, here, and in the case of Ombindi, we see a link here between being chosen, being the special one, and death; specifically suicide.

There are other items that signify damnation in Graveity’s Rainbow that are unambiguous–for instance, there’s a brief history of one of Lt. Slothrup’s ancestors, a pig farmer, who had an especially good rapport with his animals, despite the fact that they were destined fo slaughter--a pretty obvious metaphor for damnation.  Yet, we’re often left to wonder sometimes who really is the chosen one, and if being one of the few’s all it’s cracked up to be.

You don’t have to delve very deeply into Wit of the Staircase to see a lot of celebrity names, or the mention of iconic figures.  Some, like Kate Moss and Sofia Coppola, seem to crop up again and again.  In many  respects, this is to be expected.  After all, WotS openly delved into popular culture as one of its main themes.  Yet at the same time, celebrities represent a type of elect.  Many wish to be a star.  Some will even spend (or waste, if you prefer) considerable money, brains and time to become one.  Yet, few are chosen for the role.  And the thing is, like the Calvinistic Doctrine of the Elect, the will of the gods hath no why.  Success, especially in older electronic media (e.g., movies, television), relies heavily on the acceptance by cultural gatekeepers--the producer or director who casts you for the breakout role; the studio that buys your script and then greenlights its production; the record label that inks you to a deal; the gallery that decides to showcase your visual art; the publisher who prints your novel, and so on.  What this pre-audience decides to take under its wing isn’t necessarily the best or the brightest or the most innovative.  Rather, the elect largely consists of the most easily marketable.  And marketability itself can be assessed in many different ways:  from focus groups to the whim of a single executive.  Then too, when referring to someone like Coppola, we could also see election in terms of bloodline, the convenience of being the scion of the elect.

What drives the wannabe is the belief that achievement will result not only in adulation and material wealth, but also a certain type of immortality.  William Shakespeare (whoever he was) died almost four hundred years ago.  Yet, his work remains current, adapting to new historical eras, media and technologies.  We evoke his name daily, and just about every person who speaks English–and a lot of folks who don’t–still know who he is.  He’s not forgotten, nor will he be any time soon.

On the other hand, many of us would be hard pressed to name a single one of our ancestors who existed during Shakespeare’s time.  We all have them.  Yet, they are simply gone and forgotten to the point where their own families never knew they existed as autonomous individuals.

Okay, never mind that there are plenty of former mega-celebs who are as obscure as your Jacobean relatives.** The lure of immortality, the escape from preterition, is arguably a key reason why fame seekers seek fame.

And its on this level that I find Wit of the Staircase’s focus on the cultural icon interesting.  After all, this is a milieu to which both Jeremy Blake and Theresa Duncan aspired. 

An anonymous researcher floated to me the idea that The Church of Scientology might have, at one time, attempted to recruit Blake and Duncan.  Moreover, the “choosing” of Blake by one of its members, rock star Beck Hansen, represented a step in this direction.  While highly speculative, I agreed that this made sense.  After all, Scientology is in the practice of scoping out Hollywood’s up-and-comers, and enticing them to join their religion.  Consequently, if the wannabe achieves their goals, in front of or behind the cameras, Scientology claims credit for their success--or more accurately, they get the star to make that claim for them.  Blake and Duncan had already received considerable press before arriving at Venice Beach, so they might have seemed like attractive recruits--in more ways than one. 

Then too, there’s the practice of “lovebombing,” which entails making the potential recruit feel that he or she is special.  It also includes impressing upon the recruit the idea that their cult, and their cult alone, recognizes that specialness.   Here, we have a couple who have put in a lot of time and effort in order to utilize their talents--his visionary, hers literary--to make a (hopefully positive) impact in Hollywood, and thus on humanity.  The fact that a celebrity initiates what seems to be a genuine friendship could very well have given them the impression that they were one of the chosen few who truly belonged in this world of fame and glamour.  If that weren’t enough, Duncan greatly admired the 1960s Warhol Factory, its history and its participants.  Beck happened to be the son of one of the Factory’s core people, specifically Bibbe Hansen.  One could imagine that in addition to becoming close to one star, and his celebrity wife, the prospect of making another connection to a scene that she idolized would have been particularly enticing to Duncan, and therefore Blake.  There’s not another cult in this world who could possibly lovebomb like that.

Sacrifice is usually a prerequisite for fame.  In addition to working on one’s craft, or in Hollywood one’s physical appearance, the wannabe might feel compelled to forge alliances that he or she would otherwise feel are distasteful, or in some cases downright abusive.  Current celebs often use the phrase “sell my soul to the devil” when discussing the mechanism of fame with interviewers.  While one cannot say that the Church of Scientology and Beelzebub are one and the same, we can nevertheless see the attraction that some aspirants might have for it, given its purported power in the movie industry.

The phrase “selling one’s soul” is, of course, a metaphor for sacrificing something extremely precious.  It’s in this vein that many talk about the infamous Hollywood casting couch.  While it would seem to be something on the level of a cliche, or perhaps an urban legend, such contemporary celebs as Susan Sarandon, Thandie Newton, Helen Mirren, Charlize Theron and Gwyneth Paltrow have all complained about how, early in their careers, someone pressured them to sell, if not their souls, their bodies for a chance at stardom. 

During the winter of 2011-2012, the press reported on a number of allegations that the casting couch not only applied to men and women, but to children as well.  In a November 2011 interview, former child star Corey Feldman told ABC that his fame came directly from the casting couch.  Furthermore, Feldman blamed the pedophilic casting couch for the pathology that ultimately claimed the life of his friend, Corey Haim.  A few months later, Todd Bridges claimed likewise in his 2012 autobiography Killing Willis:  From Diff'rent Strokes to the Mean Streets to the Life I Always Wanted, and gave some indication that his friend and co-star, Dana Plato, also underwent the same ordeal.*** Bridges’ and Feldman’s allegations seemed to find affirmation in the high-profile December 2011 arrest of Martin Weiss, an agent/manager specializing in child actors.  As reported in the Los Angeles Times, this occurred in the context of other arrests, dating back to 2004, for abusive casting couch behavior.  In wake of this news, another former child star Paul Petersen (The Donna Reed Show), the current head of A Minor Consideration, an advocacy group for child actors, strongly suspected that the abuse extended into child pornography.

Given Duncan’s references to Project MONARCH in Wit of the Staircase, the idea of sexual exploitation of the children and adolescents takes on a new significance in light of what appears to be a hidden part of fame.  One could consequently read into these references a concern about her and Blake’s own integrity and innocence.   After all, she made a name for herself by writing content catering to girls, from video games to Alice Underground.  If she herself faced pressure to submit to the sordid, but apparently traditional, initiation of the casting couch, we could see her interest in MONARCH perhaps not only as a declaration of a fact--for it would appear that she truly believed such a program existed--but also as a metaphor for experience in California.  

As mentioned in the previous post, someone also called my attention to the post dated 1 May 2006, which quoted sixteenth-century writer Philip Stubbs:
I have heard it credibly reported (and that viva voce) by men of great gravity and reputation that of forty, threescore, or a hundred maids going to the wood overnight, there have scarcely the third part of them returned home again undefiled.
This represented speculation, by the informant, on the context of statements Duncan allegedly made to Katherine O’Brien on 9 May 2006.  As O’Brien stated in a formal complaint against the couple, Duncan knocked on the door to her place one night, saying, “Jeremy and I have started a club where we’ve found a bunch of old men and we’re letting them fuck us in the ass, and we wanted to know if you wanted to be a part of it.”  While some might have interpreted this statement to be conspiracy conjecture on Duncan’s part, a reference to some secret society initiation, it’s possible that the statement, if accurately accounted by O’Brien, might actually refer to some pressures she and Jeremy were facing that had nothing to do with arcana, or the CIA, but with Tinseltown itself.

________________________
*The demogracide, orchestrated by Lt. General Lothar von Trotha of the German Imperial Army, and by colonial Gov. Heinrich Goering, father of Herman Goering, resulted in the deaths of up to 100,000 Hereros and 10,000 Namas. 

**If you don’t believe me, Google the names Olive Thomas, Annette Kellerman, or Florence Lawrence.  All three of these women were at one time as famous, or arguably more famous, than most contemporary celebrities.

***Bridges specifically said that Plato introduced him to heterosexual relations when he was twelve, and she was fourteen, making it clear that she had engaged in such activity before.

The Trouble with Witty Flights: Kicking Pig-Tailed Ass

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...and is far as I'm concerned we're still watching the sixties unfold culturally.
--Theresa Duncan, interview with Adrienne Crew, LAist (6 February 2006)

Allusion 6: The “We Conspiracy” vs. the “They Conspiracy”

In one passage toward the end of Gravity’s Rainbow, Roger Mexico, the statistician tracking protagonist Philip Slothrup for the White Visitation, gets fed up with the conspiracy against the American Lieutenant, and the man behind it:  namely, Dr. Pointsman.   Mexico catches Pointsman in a meeting with other Intel brass, and disrupts the proceedings by leaping onto the conference table, cussing out Pointsman in front of his peers, and pissing on everything and everybody within reach. 

Mexico somehow manages to elude security, and after wondering around aimlessly for a few hours winds up at the house of his friend,  fellow White Visitation conspirator Pirate Prentice.  To Mexico’s surprise, Prentice is not alone.  Pirate explains to Roger that they have formed a counter-conspiracy against the White Visitation, and presumably other evil Intel operations, which they dub the “They Conspiracy.”  Prentice then urges his friend to join them in the counter-, or “We Conspiracy.”

Back in the day, Mae Brussell believed that the purpose of conspiracy research, or “conspiracy theory,” was to inform political activism.  Otherwise, it simply becomes a form of prurient entertainment, or what she called, “a peep show.”  Yet, the idea of using conspiracism itself as a means of activism is somewhat novel.  Wit of the Staircase drew upon many different aspects of popular discourse, including “conspiracy theory.”  And one could argue, after reading it cover-to-cover, that Theresa Duncan,  examined each of these topics, if not always consciously, with an ideological consistency that ultimately constituted a form of political activism.

Framing this blog were frequent mentions of her and Jeremy Blake’s membership in the Los Angeles Chapter of the Lunar Society.  Kate Coe doubted that it was little more than a fantasy, dubbing it “probably non-existed.”  True, there’s no real evidence that Blake and Duncan were ever involved with this, or any other quasi-secret society.  But by dismissing the very real existence of the Lunar Society, Coe and others might have missed the point of its appearance on WotS.  The society’s stated mission consists of “[influencing] change through stimulating ideas, broadening debate and catalysing action,” and is almost identical to that of the nineteenth century organization that originally bore the name. 

Translation: it’s a “We Conspiracy.”

As I’ve noted before, it’s possible that Blake and Duncan could have sent in an application form along with the twenty-five quid processing fee.  It’s even possible they could have been accepted.  It’s equally plausible that the Lunar Society rejected their application, or that they never applied at all.  Yet, whether they were official members or not wouldn’t really matter.  Simply by declaring membership in the organization, the two would also have to have endorsed the Lunar Society’s stated mission. 

As far as catalyzing action, one’s hard pressed to find an example of that in the lives of Blake and Duncan, unless we’re prepared to think the unthinkable.  So let’s hold off on that for now. 

For now, let’s look at WotS, Blake’s artwork, Duncan’s video games, and the couple’s collaborations in light of the other two points of that mission statement.  Duncan had a knack for encouraging debate, and during her online life took considerable scorn for it.  Likewise, the reason why so many hard copy sources wrote, and continue to write about Blake is because his work inspired critique, and subsequently debate.  According to Coe, WotS didn’t have so much readers as it did fans.  Blake too had his fans.  This would indicate that their ideas about storytelling, and about painting, both of which fully utilized the possibilities afforded by the latest technology to stretch beyond the media’s traditional limitations, were not only innovative (at least for their day), but also sufficiently stimulating for a dedicated audience.  More important, it seems clear that Duncan and Blake deliberately and persistently attempted to think “outside-the-box” in order to draw attention to their works, and thus precipitate dialogue about its context and meaning.

Assuming that Blake and Duncan had no contact with the Lunar Society, their work is nevertheless consistent with its stated agenda.  That’s why it doesn’t really matter whether they officially belonged to it or not.   Even if they were the only two members in a self-declared separatist non-dues-paying faction of the LA. Chapter, then Duncan is still giving the reader substantial reason to think that she and Blake are engaged in their own “We Conspiracy,” one that others could join online if they wanted by complementing, or dialoguing with their work in their own forums.

On 28 March 2007, Duncan gave an example of broadening debate in a post titled, “Baby Boomer to Wit: Fuck You.”  Here, she quoted an e-mail from a Baby Boomer reader, who accused her of hypocrisy.  This reader, whom Duncan referred to as “a smart lady,” “Blank Blank,” or “BB” (an acronym she also used to reference “baby boomers”), wondered how Duncan could constantly condemn those of the Swinging Sixties generation, yet at the same time regard their cultural artifacts with high reverence:

Your posts about how the boomers should all die right now to make way for the younger folks really perplex me. They should have the Who's ‘My Generation’ playing in the background--oh, wait, that's a Boomer anthem. The ‘you old people must die’ rant is so classically adolescent that every time you bring it up, it makes me question my otherwise state of fandom. I think to myself, ‘Why am I reading this punk?’ and then I think to myself, ‘Hold on a minute. If I recall correctly, the Wit, pigtails notwithstanding, is pushing 40 herself...’  Also, if I recall correctly, the Wit is a Freudian ... so I wonder ... do you hate mommy and daddy? Is that what this is all about?

What do you propose, exactly? Soilent Green? Have you got a black pill you're selling?
And then you'll turn around and get all wet in the panties about Yoko freaking Ono.

Duncan’s response acknowledged her loyalty not only to Baby Boomer culture, but more importantly her loyalty to Baby Boomer idealism, which flourished during the 1960s.  The problem with that generation, as she saw it, didn’t lay in their beliefs, ideas or the historical efforts that effectively and permanently changed society, but rather the relevance and efficacy of their methods in the present day.  In other words, she chided that generation for resting on its laurels, when in fact its work had not yet finished.  Worse still, because of their large surviving numbers, along with their political and intellectual stagnation, she feared that their cultural dominance hampered future generations from completing the social change that the Baby Boomers could no longer accomplish, due to either enfeebledness, complacency or both:

Basically, I agree that most of what I enjoy in culture is the product of the Baby Boomer era, and that many of the freedoms I thought I was going to be able to take for granted are the result of fights that this generation undertook.

The problem, as I see it, is not the Baby Boomers themselves, but the media's continuing focus on them despite their near total irrelevance as a bloc that is going to move the culture forward even one inch more than they already have....
The problem that I have as a person born immediately after this generation, is that there are 20 million Gen Xers and something like 50 million BBs. It's money and demographics that are muffling people like me and taking up all the space as much as the BBs wide middle aged asses.....
I also think that the BBs strategies for cultural upheaval and protest were studied closely by Strangeloves like Kissinger and Rumsfeld and their Black Pill think tanks. We have to fight the same motherfuckers that you guys did, but if we use the known strategies that worked back when, we are dead.
The battles of the nineteen sixties are not yet remotely won, and it's the BBs patting themselves on the back like they were that is deadly......for me and you.

It’s clear here that Duncan saw political struggle in terms of cultural warfare.  The countercultural/anti-war movement that ardently, and at great risk, took action against “the system” in its youth had degenerated into “The Me Generation” of young adulthood.* At the same time, Duncan argued, its immensity stifled the ability of succeeding generations to use new tactics to finish the movement their parents began.   She likewise conceded that if her own generation became similarly ineffective, then it would be up to future generations to shove their elders aside, snatch the torch, and run with it:
Younger people were indeed born to kick my pigtailed ass, and if our terminally ailing democratic culture is swept along on their own sexy, slender thighed demands for freedom and money and sex and art and music that are all their own, then whoopeee!
One can easily argue the merits of Duncan’s assertions. Although demonstrations and protests might have provided cheap and effective public relations in the less oligopolistic media structure of the 1960s, one can hardly say that they are just as effective now, especially since authorities can herd such activities off thirteen miles away in “Free Speech Zones,” where for a few square feet the US Constitution actually applies, albeit far from the eyes of a camera.  Yet, many activists still engage in this tactic because, well, its what they’ve always done.  And the very powers they protest have had four decades in which to find this and other strategies aiming at nullifying such efforts.

As for Wit of the Staircase, the specific form of activism one can discern is alluded to in such posts as “The Minds that Shaped Los Angeles, Vol 2,” and “‘L’ Is for Loser," where she references philosopher Jean Baudrillard.  His work centered on semiotics, the study of signs, symbols and meanings.  As I stated earlier in this series, Duncan’s knowledge of Baudrillard’s philosophy indicated her awareness of how one can interpret, and thus change, the networks of meaning that constitute popular consciousness by changing the nature of a signifier’s relationship to others, or perhaps by adding new signifiers.  

In cultural warfare, the ability to determine meaning becomes paramount.  In ways somewhat similar to Neural Linguistic Programming, we live in a mediasphere (in substantial part, Hollywood-driven) that re-organizes and subsequently depicts reality in such ways that our political and personal choices are limited and quite predictable.  This happened neither suddenly, nor by accident.  While one can read about the origins and growth of the public relations industry in many sources, the point is that both government and industry have become more dependent upon spin.** 

Spin often relies upon language, or more accurately linguistic nuance, the reshaping of phrases and common words in order to minimize or maximize their impact.  For instance, the words ‘politically’ and ‘correct (or incorrect)’ have long been used together in official American discourse.  During the eighteenth and nineteenth century the phrase ‘political correctness’ would apply to something that was simply accurate in a political sense: e.g., Lansing is the capitol city of Michigan.  Other nations (e.g. the USSR) used the term to denote adherence to official party lines.  Leftists of the 1960s and 1970s used the term as a self-criticism, a means of preventing orthodoxy, or dogma amongst themselves.***  But the term’s current usage really originates in the 1990s, specifically in the 1990 book Illiberal Education: The Politics of Race and Sex on Campus by Dinesh D’Souza, a conservative political commentator working with The Heritage Foundation and the American Enterprise Institute, and a former policy advisor of President Ronald Reagan. 

The term, as used by D’Souza to denote what he perceived as leftist hypersensitivity to racism and sexism, gained currency with other right-wing pundits, commentators and think tanks.  And one can see the usage of the term to negate, or dismiss inclusiveness to various outgroups or minorities in nullification of previous understandings forged in 1960s political activism.   The effect of such a term would be to reclaim the right of those with political, economic or cultural authority to define otherness, reducing people to (most often) their most demeaning stereotypes, thus arguing their unsuitability in more influential spheres of public life. 

Of course, such terms as ‘political correctness’ would only be a start.  We’ve since become acquainted with such pejorative terms as ‘the race card’ and ‘feminazi’ which can effectively stifle any discussion of racial and gender prejudice before it starts.  And one could argue that popular culture itself has become more martial, with an increasing belief that “the enemy” is always evil, always deceptive, always violent, always unreasonable, always psychopathic, often Islamic, and always deserving of his or her ultimate fate, which is usually pretty gory.

Then again, if one is paranoid (in the good, slap-on-the-back-welcome-to-the-club sense), he or she could also see the propagation of manipulative language and themes as a form of “They Conspiracy.” For a person like Duncan, who herself had a history of traditional political activism, but who also had a knack for language and storytelling in non-traditional ways utilizing the latest media technology, sowing the memes countering or subverting elitist spin might have constituted a fitting “We Conspiracy,” especially if her readers were sharp enough to pick up on what she did and run with it on their own.****  And unlike her previous experiences, nobody could sensor Wit of the Staircase by putting it in turnaround hell, as was the fate of Alice Underground, or by simply declining patronage.  With WotS, Duncan could express herself with complete autonomy, free of cultural and intellectual gatekeepers.

If the progress made during the 1960s was largely cultural, and a countermovement came about through verbal and iconic language planted by some hacks working for such right-wing think tanks as the Heritage Foundation and the AEI, then she, or for that matter any one of us, could use the bully pulpits of cyberspace to plant our own semiological seeds, help them take root, and cross our fingers that they grow.


_____________________
*While some attributed this ideological shift simply to growing up and losing youthful idealism, many cultural historians point to the number of economic, personal, political and physical pressures that induced the Baby Boomer generation to withdraw from direct, active struggle.  A 2002 documentary titled The Century of the Self offers an excellent and brief historical analysis of this trend.

**I highly recommend Dr. Stuart Ewen’s (Media Studies, Hunter College) insightful PR! A Social History of Spin, which included an interview with Edward Bernays, regarded by many as the Father of PR.  You can read more about Bernays in this earlier post on The X Spot

***One example given by noted rock critic and Redstockings co-founder Ellen Willis: “in the early '80s, when feminists used the term ‘political correctness,’ it was used to refer sarcastically to the anti-pornography movement's efforts to define a 'feminist sexuality.”

****An anonymous researcher–whom I’d be happy to give full credit to for this and other information–alerted me to this article published in Wayne State University’s student newspaper on 2 February 1987.  It reports that Duncan, as Chair of the WSU Young Socialists club, worked with local activist and politician Jerry White to call attention, both on-campus and off, to the Iran-Contra scandal, and some of the potentially unexamined consequences of it. 

Figure 1.  WSU article.




The Trouble with Witty Flights: Contents under Pressure

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Edited for accuracy and clarification 7/3/13.

The depiction of Jeremy Blake and Theresa Duncan given by the likes of Kate Coe, Laurie Winer, Nancy Jo Sales, or for that matter the producers of Law & Order presumes an organic, jointly shared pathology between the two, a folieà deux.  True, we don’t really associate happy, well-adjusted couples with double suicides.  And many of their actions seem strange, perhaps psychotically paranoid.  In this vein, we hear stories about how their private conspiracy rants came across to friends as so much quixotic tilting.  And it’s quite possible that the couple exaggerated some of the events occurring in their lives to make a case for what turned out to be very strong beliefs. Most important, even those who dismiss the double-suicide explanation as unlikely (e.g. Alex Constantine, or early on Jeff Wells and Ron Rosenberg) would have to concede that the couple died in a state of severe emotional distress.

Yet, when you look more deeply into the circumstances that Blake and Duncan said they encountered, and weigh them against the statements of others who made nearly identical claims, and have court-quality evidence to prove them beyond a reasonable doubt standard, then what emerges isn’t so much the idea of an insular couple feeding off of each other’s madness so much as the portrait of a couple reacting to pressure.  Some of these pressures might have been imaginary, exacerbated by Blake and Duncan’s innate creativity.  Some of them could be exaggerations, gross distortions or mistaken perceptions.  Yet, some of these pressures could very likely be real, while others are quite obvious.

One could expect that the couple faced many of the mundane pressures that affect us all.  Everyone has bills to pay, conflicts within relationships, worries about the future, and so forth.  Add to that the pressures inherent with embarking on occupations that are highly competitive, and to a large extent dependent not on effort or merit, but rather on the perception and arbitrary acceptance of others for success.  The economic model of the entertainment industry in general, and the movie industry specifically, illustrates this--very few movies are greenlighted, fewer are actually made, and only a handful of those make it into theaters.  But some, including celebrities, have hinted at something else going on in Tinseltown, something darker, something that’s scary for them to mention by name.  They seem to indicate that something is putting an extraordinary pressure on talent in front of and behind the camera, something that often results in abreactions (or in the vernacular, meltdowns).  As Dave Chapelle explained in an Actor’s Studio interview with James Lipton on 10 November 2008:
[Addressing an audience of aspiring actors] Like you guys are students now, so you’re idealists.  But you don’t know about what art and corporate interests meet, yet.  Just prepare to have your heart broken....

Martin Lawrence was a guy who showed everybody you could make it from DC to Hollywood....When we did Blue Streak,  we were promoting it, Martin had a stroke.  He almost died.  And then after that, I saw him, and I was like, ‘Oh my God, Martin, are you okay?’  And he said, ‘I got the best sleep I ever got in my life.’  That’s how tough he is.

So let me ask you this: what is happening in Hollywood that a guy that tough will be on the street waving a gun , screaming, ‘they are trying to kill me’?  What’s going on?  Why is Dave Chapelle going to Africa?  Why does Mariah Carey make $100 million deal, and take her clothes off on TRL.  A weak person cannot get to sit here and talk to you.  Ain’t no weak people talking to you.  So what is happening in Hollywood?  Nobody knows.  The worst thing to call somebody is ‘crazy.’ It’s dismissive.  ‘I don’t understand this person, so they’re crazy.’  That’s bullshit.  These people are not crazy.  They’re strong people.  Maybe the environment is a little sick.

As Chapelle suggested, it might make sense to look for pathology not only in Blake and Duncan, but also the industry they attempted to become a part of.  We hear about the likes of Lindsay Lohan everyday, because the gossip press covers them with considerable vigor.  We can only imagine how often this sort of thing happens to people out of the limelight: the aspirants, the writers and other behind-the-scenes people. 

Anyone who has served any time in the entertainment business can face a number of unique pressures that don’t apply completely or at all to other endeavors.  As strange as it sounds, Duncan and Blake were most likely aware that in Hollywood they faced the additional pressure of age discrimination.  Because of the nearly myopic focus on the youth market, it’s exceedingly rare for a screenwriter to sell their first work at the age of thirty-five years or older.*  Likewise, rookie directors tend to be younger as well.  And, as conventional wisdom would indicate, onscreen talent tends to have a particularly short shelf life. 

The Church of Scientology has denied putting any pressure on Blake and Duncan.  But since the organization (1) has a very long proven history of harassing perceived enemies--they even gave it a name (the ‘fair-game policy’), (2) the couple had a documented relationship to one of its most prominent members, and (3) one of its employees (John Connolly) played a substantial role in crafting the most visible narrative about them, we cannot have complete faith in that assertion.  It’s quite possible that the Church did in fact put some pressure on Blake and Duncan, although how much would be a matter of speculation.  I say this because the actions Blake and Duncan described, as implausible as they might seem for someone who never experienced them, were fairly tame compared to such documented cases as Paulette Cooper’s.  In other words, people have offered solid evidence to support the notion that the Church engaged in similar action against its critics.  And their stories have found corroboration from former members responsible for initiating the ill treatment.  More important, Blake and Duncan’s behaviors exemplify the specific reactions that the ‘fair game’ policy was designed to induce.  These tactics included  “pushing [the target’s] buttons,” or in other words deliberately stoking their emotions.  They also included the goading of targets into discrediting themselves.  Bizarre, but real occurrences related with high emotion often impresses the listener as wild-eyed lunacy.

Cooper’s case illustrates how pressure such as that exerted by the CoS could lead to a target’s downward spiral.  A new friend turned out to be a Scientologist who spied against her.  Her framing on federal criminal charges, and other undoubtedly wild-sounding stories that would later prove true, alienated many of her older friends, isolating her from the support she really needed during that time, and frustrating her efforts to get effective help.   In her words, the whole experience left her angry and depressed,

One could speculate that Blake and Duncan were spooked by a number of odd occurrences, which not only included what they described as surveillance, but also other things, among them a dead cat left in front of their home.** They also suspected that animosity from the Church resulted in the permanent shelving of Alice Underground, and subsequently any other efforts they might engage in.  They were in an unenviable position of not knowing friend from foe, or when or where the next provocation would occur.  And in such a situation, their fear of Scientology could have generalized.  At that point, the couple might have assessed their lives for other potential threats that might have been related to the original source, making them hyper-vigilant to trouble from anyone, from anywhere.  Dr. Reza Aslan’s appearance in their lives, at that particular moment, could have seemed to them a threat stemming from Blake’s past connection to Iowa:  namely his ex-girlfriend, Anna Gaskell.  Aslan could have appeared particularly intimidating to them if he actually mentioned Duncan’s FBI file, even if it was within an innocent context.  In addition to Blake’s previous courtship of a woman whose father they regarded as having Mafia ties, Duncan’s political activism could have made them both a target as well.

The pressures Blake and Duncan faced in Los Angeles could have led the couple into a state of never knowing (or never sure of) which way was up.  There could have been a lot of confusion, again stoked by fecund imaginations.  Yet, the couple’s actions aren’t so much consistent with two people who happened to lose their minds at the same time, or who wallowed in self-pity, but rather two people who genuinely felt as though they were under the gun for many reasons.

Moving to New York, and making friends with Fr. Frank Morales, would seem to have provided the couple with a change of venue and a sympathetic ear.  But, as noted earlier, they both suspected a continued surveillance against them, as witnessed by Fr. Morales. 

Worse, Morales himself became another source of stress, according to his then-girlfriend, artist Melinda Hunt.   Contrary to what Nancy Jo Sales wrote in her Vanity Fair piece, Hunt said that on the night of Duncan’s death, she and Morales were about to go out for dinner.  By the time she arrived at the church to pick him up, she saw the rectory surrounded by emergency vehicles and personnel.  Hunt contended that the story given by Sales in “The Golden Suicides.” pretty much lied about how Morales came to find out about Duncan’s death, and exaggerated the priest’s closeness with the couple in order to portray him as an heroic figure.   But Hunt’s contention that the couple had recently begun avoiding him would indicate that they saw him too as a potential threat.

Sales countered that Hunt was not present at the rectory on the night of Duncan’s passing, and made other “bizarre fabrications.”  Father Morales backed his ex-wife’s version of events in an e-mail to The Society of Mutual Autopsy (SoMA) website.  Regardless of whoever’s version is more accurate in this is she-said-they-said argument, the bickering between Hunt, Sales and Morales hints at the possibility that things between these three were contentious before the couple’s deaths.  It’s possible Blake and Duncan just wanted to distance themselves from Morales for reasons that were more personal than political: at a moment of high stress in their own lives, perhaps they wanted to stay clear of this situation.  Then too, one might guess that, given the priest’s own political and parapolitical beliefs, the couple might have felt themselves pushed into someone else’s conspiracy agenda,: specifically, the 9/11 Truth movement that Fr. Morales actively supported. 

I have no opinion about the gossip and counter-gossip surrounding Fr. Morales’ love life; which side is telling the truth and which is lying is more their concern than ours.  Given Blake and Duncan’s sensitivity to possible conspiracies against them, the legal complications of Morales’ actual wife, and the possible effect her credit problems might have had on the clergyman,  one wonders if Jeremy and Theresa considered the good padre  a possible plant, an agent provocateur guided by the NYPD to derail the 9/11 Truth Movement into irrelevancy, with help from agents representing Lyndon LaRouche.  Perhaps Blake and Duncan speculated that his ex-wife compromised him, forcing his cooperation in exchange for leniency--for her, or perhaps even himself.***

Again, I have no reason to think this is the case.  Whether it is or not isn’t the point.  Before he ever met Blake and Duncan, others accused Fr. Morales of subverting the Truther Movement, and of being guided by LaRouche.  The point here is whether or not the couple had become aware of these accusations, and gave them even momentary consideration.  If they did, it would make sense for them to maintain a respectful distance, while they sorted out whether or not Fr. Morales was truly on their side.  Even if they didn’t, then the fervor and contention within the 9/11 movement might have made Fr. Morales an additional stressor for a couple who already had more pressure than they could handle.


______________________
*In 2011, I was asked to join in a class action age discrimination suit filed against Hollywood studios by a law firm representing screenwriters thirty-five and older.  Had I opted to participate in the suit, my take in the eventual settlement would have been about $400 and change.

**A number of Scientology critics have alleged that the Church left dead animals and pets in front of their home in order to intimidate them.  You don’t have to look too far to find examples.  Many Blake and Duncan detractors tend to ignore these claims.  Some have instead accused the couple of killing the animal themselves and blaming its death on Scientology agents.

***Although many sources cite convicted con artist Antoinette Millard as Fr. Morales former wife, an anonymous source has informed me that she was not the Reverend's wife, but rather a woman whose alias, Lisa Walker, was the same as Mrs. Morales.  

Here, it would appear that Ford and others (including me) have been incorrect about the identity of Morales actual wife at the time of Blake and Duncan's demise.  It would seem that the rumor of a false connection might have circulated before 7/10/07, so one could still wonder if Duncan and Blake might have gotten wind of it, and regarded the innacurate datum as true.  

The Trouble with Witty Flights: A Grave Allusion

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‘You know, Ombindi’s eyes rolled the other way, looking up at a mirror-image of Enzian that only he can see, ‘there’s. . . well, something you ordinarily wouldn’t think of as erotic--but it’s really the most erotic thing there is.’
–Thomas Pynchon, Gravity’s Rainbow

Allusion 7: Suicide

The above cited passage comes from a conversation between Joseph Ombindi and Oberst Enzian, two of the expatriated Hereros living in a postwar Germany.  The erotic act they discuss here is suicide.

Ombindi represents a group called The Empty Ones, who want to thwart the seemingly endless exploitation by colonial masters by completing the genocide they began under Von Trotha.  The Hereros believe this will get them even with the European overlords because after the death of the last Herero, there will be no one left to lord over.

This and many other allusions to suicide found in Gravity’s Rainbow, have nonsensical aspects--for starters, the thought that one can wreak revenge on an enemy through total self-elimination; let’s face it, after you’re gone there’s always someone else to oppress.  Pynchon depicts suicide as escape from preterition.  Gottfried understands the honor of being chosen as the 00000's sacrificial lamb, for example. And the surviving Hereos feel passed over.  Ombindi’s desire for self-genecide consequently makes him, and the other Empty Ones, part of something larger, part of belonging to some great action to frustrate evil.

The case of the Herero at least touches upon something discernable as suicidal ideation.  If you can recall (and you’re quite forgiven if you can’t) I began this series with a discussion of suicidal ideation, using an example from my own life in conjunction with psychological studies on self-murder.  In cases where someone alleges suicide, it's important to look at ideation:  patterns of thought and expression indicating the victim’s feelings of frustration and powerlessness, coupled with an indication that he or she might find relief in the notion of controlling death.  In many cases, just the fantasy was comforting.  But as my acquaintance, J., could tell you, were he around to tell anyone anything, the fantasy can grow stale. 

Quite unlike J., Theresa Duncan and Jeremy Blake did not escalate the fantasy into action in an obvious way.  Neither had, as far as I know, a prior history of suicide attempts, or were so much as caught red-handed acting out a suicidal fantasy.  Duncan’s death seemed especially shocking, with some friends doubting very seriously that she could do such a thing.  After all, they reasoned, she was a fighter.  In a 25 July 2007 post on Rigorous Intuition titled “Imitation of Life,” Wells mentioned that Duncan had no known history of pill-popping, and several other vague or seemingly odd items that cast suspicion on the suicide story.

Perhaps this, along with the paucity of publicly available information, and the timing (before Duncan could post “The Devil and Dick Cheney”) is what led to speculation on other possible causes of death, including murder and conspiracy.  Authorities said little in Blake’s case, and much less with respect to Duncan’s.  While it’s possible that the scene of each had evidence of foul play, there’s no indication that it did in the open sources that we can find.  Perhaps more telling is the response of the two families most directly involved.  One would figure that if there had been any evidence of homicide, even if not reported in the press, then the couple’s families would have pursued that possibility--one would expect aggressively.  True, one can more easily concoct a murder scenario for Blake,*   Yet, nothing at all indicates this.

According to the best source I have at this time, Duncan died from acute diphenhydramine poisoning.  If true, she died of cardiovascular collapse within two to eighteen hours after ingestion.  More important, since there is no evidence of murder, there are two plausible scenarios left:  accidental death and suicide.  And for Duncan, one can clearly discern suicidal ideation, albeit in hindsight.

In the aforementioned February 2006 interview appearing in LAist, Adrienne Crew asked Duncan if she, the native mid-westerner via the East Coast, preferred the threat of earthquakes to that of hurricanes and long winters.  Theresa replied: “Like Nietzsche's quip about suicide, the thought of a massive earthquake has gotten me through many a long night.”

Sure, Duncan made the statement tongue-in-cheek.  Yet, suicidal ideation often finds expression in jokes and pranks.  Looking at Wit of the Staircase, we can see not only fascination with suicide and early death, but her identification with the deceased.  The examples are too numerous to list here, but some of these would include “The Snake Goddess of Detroit,” (24 September 2005) a post about the death of Sleeping Bear’s daughter, a woman literally too beautiful to live in peace; “Young, Sexy and Dead,” in which she griped about the Hollywood exploitation, sensationalism and overall superficial examinations of “young, good looking talents who died prematurely,” (27 August 2005) apparently feeling that they were missing the point; and “Night Falls Fast: Ten Books by Authors Who Offed Themselves,” (23 July 2005). In “Pink, Unthinking, True,” (1 June 2007), she posted a poem by Dr. Sarah Hannah, who had taken her life in May that year.  Constantine wrote that Blake and Hannah had a relationship at one time.  I’m not sure that’s true.  If it were, it would merely represent one more point of identification.  After all, she and Duncan were both creative, brilliant, assertive, passionate, and forty years old at the time of their deaths.   

The Glass Coffin,” (9 November 2005) focused on the harassment of actress Jean Seberg (left).  Seberg committed suicide in 1979.  Those close to her reported that her mental health became precarious after a period of FBI harassment due to her support of the Black Panthers during the 1960s.  The initial harassment triggered a cascade of personal mishaps, starting with a miscarriage.  Years later, declassified documents confirmed the Bureau’s targeting of her for harassment by actively spreading a (false) rumor that she had become pregnant by one of her black militant suitors, a serious accusation in a Hollywood where appearances are everything. 

According to their associate, Christine Nichols, Blake and Duncan privately complained of Scientology harassment in 2004, a year before Theresa posted "The Glass Coffin."  One could easily draw parallels between Seberg and Theresa, as both complained of hounding by shadowy forces. Unlike Seberg, however, neither Duncan nor Blake's estate could provide smoking gun evidence of that harassment. 

In addition to the numerous references to others who were young, sexy, tortured and dead, one could imagine that the pressures that they faced could have left Duncan with a sense of powerlessness.  She had come no closer to getting Alice Underground in production than on the day of its option.  She couldn’t will it into existence.  One can sense a certain frustration with cultural gatekeepers, who--let’s face it--most often gravitate toward the shallow and flee in droves from the profound.   It would also seem that Duncan staked quite a bit on achieving success in the world of arts.  But as she aged, she might have feared that patron muses might have seen her as a less attractve investment--after all, they’re really looking for talent that can relate to a considerably younger demographic.  Then too, there’s the question of what one can do to earn a living, once the dream has, in all practicality, passed one by.  That prompts the question of how one will make a living, especially without a college degree.

In short, one could speculate that Duncan felt powerless to ply her talents and skills to an endeavor that would support her and where her abilities would be of use.  If so, then the prospect of getting involved with the George Pelecanos/Cary Woods project Nick’s Trip might have been the last straw.  Maybe the producer and Pelecanos would change their minds.  Maybe the studio would insist on another director instead of Blake.  Maybe it would face the same turnaround hell as Alice Underground.  In any case, Blake and Duncan had to rely on numerous others to give them approval.  Thus, the more people involved with the movie, the less control they could exert.  Worse, they had already been down the road with this particular story.  Their former friend, Bradford Schlei, recommended Jeremy to direct the movie when he helmed the project.  At the time, Blake, Duncan, Schlei, and his girlfriend Katherine O’Brien were friends.  But that friendship soured fairly quickly, thus hindering them from bringing the script to the screen. 

Speaking of Katherine O’Brien, her written statement to their mutual landlady, Sabrina Schiller, in support of the eviction proceedings against Blake and Duncan, contains the following passage:
Theresa was acting very strangely. . . . She was displaying jerking body movements; her face and hands were twitching. She continued to accuse me of being a Scientologist and part of a Scientology conspiracy to defame her.…… At times I would hear her cackling and hooting from the alley.
O’Brien’s declaration, if accurate, offers a chilling depiction of ataxia, a sign of cerebral dysfunction brought about by a thiamine deficiency.  It’s characterized by involuntary muscular movements in various parts of the body:  legs, face, hands, voice, and so forth.  One often finds it in those suffering from extremely acute alcohol poisoning, or severe chronic alcoholism.  Seeing that Duncan often wrote about alcohol consumption on Wit of the Staircase, one might imagine that the stresses that she and Blake had undergone during their final years in California, and their last few months in New York, might have induced them to self-medicate to a larger extent than those around them realized.  Then too, the pathology of alcohol abuse would also include impaired judgment and depression, something that would help explain suicide.

At the same time, a number of other things can cause ataxia.  Cranial trauma might.  So could viral infections, pesticide ingestion multiple sclerosis, and various medications.  Extremely high dosages of diphenhydramine, the main ingredient of Tylenol PM and other over-the-counter drugs, will also trigger ataxia. 

We assume Duncan made no previous suicide attempts, because no such attempts were reported or documented.  Perhaps it would be inaccurate to call them attempts.  Like my acquaintance, J., whose suicidal fantasies escalated into buying bullets, then a gun, looking at them on the table, and then one day loading the bullet into the gun, and then putting the gun to his head--mind you, with no intent of doing himself in at that particular moment--Duncan might have played the suicide game for quite awhile in secret.  As dreamsend rightly pointed out, diphenhydramine isn’t the most reliable way to commit suicide.  Yet, it’s a possible means to do so, especially when combined with alcohol.   One could suspect that Duncan tried this method at other times when ataxia became noticible.  The point wouldn’t really have been to kill herself, but rather to give her the feeling that she could end the relentless anxiety and stress of her life if she so wished.  After all, J. didn’t want to die.   He wanted control.  He wanted relief. 

I would assume that Duncan’s family, along with the authorities directly involved in her case, have an adequate explanation of death that is far more reliable than I, or for that matter anyone else can speculate on, given the little bit that we can (or arguably should) know about this case.  But from the best available evidence, a murder conspiracy seems highly unlikely.  If forced to determine a cause of death, my first guess would be that Duncan started off with a drink or two, perhaps at the rectory, perhaps at the restaurant where she and Blake ate their last meal together.  She fretted about Nick’s Trip.  Would it suffer the same fate as Alice Underground?  Would it prompt more active surveillance and harassment by the Church of Scientology.  In the uncertainty and anxiety, she played the suicide game, which this time included a note.  Of course, one has to escalate the action for the game to have the same effect.  At a certain point, it’s quite possible that Duncan began to push the envelope past the point of no return, and submitted to whatever consequences befell her.

In other words, it seems to me that Duncan’s death was somewhere along the continuum of suicide and accident.  My guess would be closer to the former.  And that’s all it is.  A guess.

Unlike Duncan, suicidal ideation is very easy to discern in Blake.  In fact, concerned friends formed a suicide watch after Theresa’s death.  Many of the pressures Duncan faced in life, he faced as well:  the fear of being blacklisted away from his dreams of directing or collaborating with her on projects, the fear that he was aging past the point where Hollywood gatekeepers would find him relevant; the fear of surveillance and harassment by anyone from the Church of Scientology to the foster father of his ex-girlfriend, Anna Gaskell.  But Blake had a stressor that Duncan did not: namely, the suicide of the person closest to him, in a relationship that seemed, according to friends interviewed by reporters afterward, abnormally close.

Blake’s mother, Anne Scwartz Delibert, put it more succinctly than anyone could, when she told reporters, “Jeremy didn’t die from love, but of pain, and an inability to find a way out of it.”:

Anyone who has endured the death of a sweetheart, or even a cherished ex, can tell you it hurts.  It hurts real bad.  Frankly, I cannot fathom how widows and widowers make it through the worst of the pain.  While time might mellow the pain after years, it won’t go away completely.  The only thing you can do is live with it.

But here, there’s the added pain in that the death was a “probable suicide.”** Blake’s mom once characterized Jeremy as Theresa’s caregiver.  If he were the nurturing sort, Blake might have felt undeserved guilt at somehow failing her, which isn’t an uncommon feeling experienced by families in the wake of suicide.  Then too, people can harbor serious anger for loved ones who offed themselves.  They sometimes see it as a betrayal, or and abandonment.  Add the pain of simply being without her.  Add to this the fact that he could never get her back.  Add in the realization that all the grand plans they made–from future artistic collaboration to their dreamed-of lawsuit against the Church of Scientology–were now in tatters.  Throw in his empathy with everything she suffered through, and what you have in toto is a pain that, as far as he could see, would never end and never abate.  I don’t think it’s the case where he wanted to die.  He wanted relief.   
Some friends expressed disbelief that Blake would chose to end his life by walking into the ocean.  To them, it seemed cliche.  Well, cliche or not it does have its advantages as a means of suicide.  The air temperature on Rockaway Beach the night of 17 July 2007 was seventy-eight degrees Fahrenheit.  The water was considerably colder.  Without the insulating effect of clothing, the water would have cooled his body enough for hypothermia to set in.  He would have lost consciousness, and then afterward drowned none the wiser. 

The nature of the press and Internet buzz revolving around the lives and deaths of Jeremy Blake and Theresa Duncan lay partly in how they died, and whether they caused their deaths as opposed to someone else.  Okay, so they were both interested in conspiracy research.  And when people die young, and presumably with few facts available, and they had a web presence that included paranoia, one could, or perhaps even should, expect others to raise questions about the generally believed facts, suppositions and assertions.  But here, as far as we can see, there’s little to speculate about, and what there is seems to confirm the very sketchy story spun out by local papers in New York and LA.  

What’s really at issue, however, isn’t really how they died.  For many the public fascination with Blake and Duncan had little to do with what they did or produced in life.  The social drama here concerns what possible meanings might lay hidden in their demise.

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*A fiction writer, for example, could write a scenario in which someone kidnaps Blake, takes his clothes and ID, puts them on a passable double who walks into the ocean, and comes back ashore some distance away from where he entered.  Meanwhile, the victim can be dumped overboard in deep water with the realization that hypothermia will cause him to lose consciousness before making it back to shore.

**Police had yet to determine Duncan’s cause of death at the time of Blake’s passing.

The Trouble with Witty Flights: An Ironic Epilogue in the Key of Social Drama

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Suicide.  Murder.  Intrigue.

These were the three narratives of Jeremy Blake and Theresa Duncan battling for public attention when I first began looking into this story in early-2008.  On a surface level, each reflects the proponent’s previously held notions about how society works, the degree to which the individual is empowerment, and what constitutes order.  One can also superficially note that in many instances these narratives do not address each other, or even the same issues.  The most widely known suicide narratives, advanced by the likes of Kate Coe and Nancy Jo Sales, focused on the troubled, hugely flawed duo haunted by imaginary demons, hubris, and third-rate talent.  Alex Constantine’s murder hypothesis centered on how Blake’s connection to real-world money played a role in their lives.  Yet, it does not comment on possible mental state of the decedents.  Likewise, Coe and Sales offered speculation with respect to mental state, but quite openly dismissed the potential veracity of Jeremy and Theresa’s accounts, which sometimes detailed conflicts with people who can hold a grudge.  The intrigue story, which would dovetail into Theremy, took into account the facts of the case, yet, like Constantine, tended to give short shrift to the couple’s mental health.  Moreover, it dismissed Constantine’s connections in deference to its own, which centered on the activities of online parties and their attempts to spin the meaning of the tragic events occurring 10 July and 17 July 2007.

On a deeper level, each of these narratives address the same issue, although from different perspectives, knowledge backgrounds, and ideologies.  The conflict resulted in what Dr. Victor Turner (Anthropology, The University of Chicago) called ‘social drama,” or as Dr. Fred Fogo (Communications, Westminster College) put it, “a transcultural phenomenon by which cultures reveal their fundamental tensions, their meaning systems, and their relations to power.”

The story of Blake and Duncan reminds us of the old fable about the blindfolded wise men and the elephant.  Because each of these narratives looked at disparate aspects, and had different objectives, they predictably came into conflict with each other.  Yet, taken as a whole, there is something that unifies them.  Each directly addressed the relevance, accuracy, and dangers of so-called “conspiracy theory.” 

Each advocates a position on how conspiracy, as a concept, explains power.  The suicide narrative argues that not only does conspiracism fail to address any aspect of power, and consequently of reality, but that it also is a force destructive to the individual and to social order.  Ron Rosenbaum, in a 31 August 2007 post titled “Theresa Duncan, Jeremy Blake: What Hath Blogmania Wrought?” even went so far as to say:
They were strangled, driven mad by their own google abetted conspiracy madness. (all links are equal). And now their legacy is even more conspiracy theory about conspiracy theory.*
The murder scenario expresses the overall idea that it would be dangerously naive to believe that power protects, or maintains itself through passive means alone.  As American and British citizens we have spent a good deal of our tax moneys paying for personnel to train for and execute conspiracies in what we are told are hostile countries.  Assassinations were not an uncommon means for quelling opposition, especially if the putative enemy were treading close to sacred grounds.  And, as Constantine noted, the connections between the power that directs those forces, can very well be closer to us than we imagine.

The intrigue scenario, initiated in large part by dreamsend’s initial hypothesis (that Wit of the Staircase served as a portal to a very clever alternate reality game) and the reaction to it, averred that the true conspiracy is deeper than most can believe.  Moreover, such games aimed to disrupt the kind of conspiracy ruminations carried out by Blake, Duncan, the patrons of the Rigorous Intuition forums and others.  The type of “cognitive infiltration” proposed by Profs. Cass Sunstein and Adam Vermule would most likely be an ineffective means by which to “cure” (their word) ‘conspiracy theory.”  But a variation of their proposal, aggressive attempts to harass and frustrate conspiracy research, could very well work. 

As I mentioned in a previous post, each of these narratives has strengths.  But they also have glaring weaknesses.  The suicide story really dismisses Blake and Duncan’s true gifts and achievements, and instead gives us a stereotypical, almost urban legend understanding of suicidal ideation, not to mention an ill-informed, hackneyed notion of conspiracy research and inquiry. Moreover, it often carried with it a sometimes hidden, sometimes flagrant ideological bias that was (one could argue unfairly) hostile to Blake and Duncan.  The murder scenario offered no evidence to show that a crime--other than suicide--had taken place with respect to either Theresa or Jeremy.**  Not only did the intrigue scenario fail to reveal an ARG in WotS, but subsequent attempts to show government-sponsored online interference led to an atmosphere of distrust and suspicion among peers. 

Of course, the most glaring weakness among these narratives is that they’re inaccurate at critical points.  True, Duncan and Blake most likely took their own lives.  But it’s highly doubtful that they did it because they saw themselves as losers, or because they were deluded by insane beliefs, or because they suddenly realized their lives were a sham.  More likely causes would include the pressures they faced (real, imaginary and exaggerated), their frustrations, their sense of powerlessness, the psychological pain they endured, and the other sundry mundane vanilla reasons manifest in run-of-the-mill suicidal ideation.  Nothing at all really establishes murder to be the cause of death, and all evidence that we can see points elsewhere.***  Likewise, we can easily prove that Blake and Duncan really existed, and that they produced the works attributed to them. We can also demonstrate orthodoxies followed by a witch hunt mentality in the examination of their deaths. 

That each of these narratives contain grave inaccuracies shouldn’t come as a big surprise.  After all, proponents of each more often than not attempted to shout each other down, rather than listen and compare notes.  More important, some (not all) didn’t seem to realize that there were more than three wise men examining this particular elephant.  Family and close friends had profound insight regarding the histories, personalities and complexities that were Jeremy Blake and Theresa Duncan.  These voices were never silent, exactly, but often lost in the din.  These insights provide a context that depicts Blake and Duncan as something other than pixels on a screen, or a concept to fight over, or an ideological perspective to target and destroy.  At the same time, one can imagine that those closest to the couple might be somewhat befuddled by the scope and intensity of popular interest in their loved ones, the pair that “launched a thousand blogs” (or, in the case of The X-Spot, seemingly a thousand blog posts). 

One can argue that the general interest in Blake and Duncan arose because of the issues surrounding contested cultural meaning, an area that Theresa and Jeremy actively and wittingly engaged in.  And social drama theory offers us some help in understanding the divisions within society that spark contested meaning in terms of how we form our understandings and assess their veracity.  

The ‘breech’ stage, the point by which we notice something is wrong, really began when New York newspapers reported on the recovery of Blake’s body, with other papers in New York and Los Angeles picking up the story shortly after.  There was the open wonder about why a couple with so much to live for would take their lives.  Moreover, media-assisted biases about how "crazy" people are supposed to look and behave, conflicted with the less-spoken bias that such insanity doesn’t strike the attractive--a term that would apply to Blake and Duncan both individually, and collectively. 

The ‘crisis’ stage, where the story gets disseminated to a wider public, began with the first few posts on Rigorous Intuition, the interviews lined up by Coe, John Connolly, Laurie Jo Winer, dreamsend, and others.  It culminated on the web in discussion forums, and in such podcasts as SMiles Lewis’ Blue Rose Report, the publication of Sales’ “The Golden Suicides” the launching of Theresa Duncan Central, the Law & Order episode titled “Boogeyman,” and so forth.  It’s here where we clearly see the perceptual schism between what constitutes truth, and what constitutes a valid method for seeking it. 

Redress, or how we reacted to the news, varied here depending on (1) how we got the news, and (2) the tools available to us.  For the general public, especially those who learned about Blake and Duncan through the most accessible suicide narratives, redress took on the form of the couple’s condemnation, if there was indeed reaction at all.  For conspiracy researchers, redress meant digging deeper into not only story itself, but the history of that story.  For many, it also meant undergoing the tumultuous disquiet of the Theremy phenomenon, and in many cases becoming disaffected and leaving the conspiracy cyberscene altogether.  The families attended memorial services.  Duncan’s estate has kept Wit of the Staircase up and running, where it attracts between 200-250 visitors per day.  Blake Robin (aka Baron von Luxury), a close friend of the couple, dedicated a website to Theresa, Sometime during March of this year, her mother, Dr. Mary Duncan, followed suit with her own Tumblr blog in order to counteract much of the early distortions and sensationalistic declarations attributed to her daughter.  In the page’s header, she writes:
On the night of July 10, 2007 I received the call that all parents dread...my daughter Theresa Duncan had died in new York, 600 miles away, and thousands of doubts, what-ifs and feelings of loss grief and guilt away.  She was 40 years old..

Over the next few weeks the story of a person that I did not recognize began to emerge in the press and blogs and the narrative of her life was largely forged by people who did not know her or who made their name with a sensationalist story with little regard for the truth or the consequences to Theresa’s family and friends, with devastating effect.

Five years after her death I will tell the story of Theresa as I knew her.  An incredibly intelligent, witty, talented, determined and complex person larger than life, flawed as we all are, with unlimited courage and moxie who enriched the lives of many with her humour, intellectual insight and generous spirit.
It’s possible that further redress came in the form of readers and friends who saw Wit of the Staircase as either a form of political activism, or art, or both.  If Blake and Duncan, per the credo of The Lunar Society, endeavored to foster change by “stimulating ideas, broadening debate and catalysing action,” or in other words by sowing the seeds of their idealism, then we can say that their efforts took root at least somewhere, as Baron von Luxury’s song and video “The Lovely Theresa.”  would illustrate.  Then too, a novel such as The Last Statue could also fall into this groove, with it’s allusions to the 1960s, cultural warfare (via the Hollywood film industry), Scientology (through Four-Pi, the offshoot of its offshoot), paranoia, Thomas Pynchon, Giordano Bruno, and so on.  It’s (third-person plural) authors say that they conceived of the novel as art, not as an ARG.  Following that idea, one could see it as a homage to Duncan’s methodology, and an of her idealism, If the point of viral art is to spread the influence of specific memes, then maybe Duncan’ work, and for that matter Blake’s, on Wit of the Staircase seems to have enjoyed a bit of modest success. 

As far reintegration, the last act of social drama, we have what seems typical in cases like this.  The most prevalent understanding of Blake and Duncan will most likely come from “Boogeyman,” Sales, Winer, Cole et al;  i.e., the story of shared madness.  For the most part, the issue of murder and conspiracy is off the table.  For those who suffered through Theremy, redress came in the form of more serious distrust.  For the survivors, reintegration takes the form of celebrating the lives and works of Theresa and Jeremy, and in defending their legacy.

Of course, anyone connected to this story will tell you that it’s highly unusual in a number of respects.  So it should come as little surprise that there’s a twist of social drama that might force us to adapt Dr. Turner’s original model for this case.  As of now, I have nothing better to call this additional stage other than ‘re-reintegration.’

Coe’s conclusion that “Many read Duncan’s words online, and most thought she was glamorous, brilliant, brave, bold, erudite. She was all those things--but those attributes didn’t win in the end,” contains more than a hint of irony.  I won’t say that Coe is wrong, here.  But I would see this sentiment as somewhat premature. 

I didn’t post this series back in 2008, because I thought tensions were too raw.  Last fall, I thought that enough time had passed by for things to have mellowed out.  Of course, I was wrong.  The interest in not just Theremy and its aftermath but in Blake and Duncan, albeit latent, remained very much intact, ready to express itself at the drop of a post.  I doubt very seriously if all has been said about these two, on the Internet or in other media.  Consequently, the work they left behind will continue to stoke debate, and possibly inspire, for some time to come.  While Coe would have already designated the lives of Blake and Duncan for the loss column, it would appear that the couple still has a few at bats left.

There are other ironies afoot, here.  In the aforementioned post titled “Young, Sexy and Dead,” Duncan wrote:
The Times of London gives a superficial examination of the culture's fascination with young, good looking talents who died prematurely. To me the trend is troublingly exploitive--sacrifice technology disguised as art.

According to the article, a crop of new films is set to widen an already disturbing trend of discounting and using young people and artists. These films are thanato-porn for the aging and the existentially evasive. ****
Wouldn’t you know, Sales optioned “The Golden Suicides” in 2009. So, such notables as Bret Easton Ellis (American Psycho), Gus van Sant (My Own Private Idaho) and Gaspar Noe (I Stand Alone) are now making a movie that would cast Blake and Duncan as the very thanto-porn stars Theresa railed against in life, in effect giving weight to her observations. 

And the irony doesn’t end there.  Like Alice Underground, The Golden Suicides seems to be in, if not turnaround hell, development limbo.  K5 Film, a German production company based in Munich, is listed as one of several involved with the project.  The German government does not consider Scientology a religion, but rather a “commercial enterprise with a history of taking advantage of vulnerable individuals and an extreme dislike of any criticism.”***** Earlier, I posed the hypothetical question of whether or not a film explicitly critical of Scientology could ever be made in Hollywood.  If it can't, then making it outside of Hollywood might be the answer.  As Ellis mentioned in a previously cited interview, he re-wrote the story because he found Sales’ initial version, a narrative in part researched by a long-term contract employee of the Church, to be inaccurate.  One could guess that a more honest version could be at least mildly critical Scientology, thus necessitating production in a nation where the Church cannot counter with labor strife.  Of course, finding distribution, especially in the English-speaking world where Scientology has considerably more clout, could prove to be more of a challenge.  One has to wonder if this has discouraged potential investors, who might only envision it having a run on the European continent, a few independent art houses in the US, Canada, the UK, New Zealand and Australia, and hardly anywhere else. 

Perhaps, at around this point, one can imagine Duncan and Blake laughing their wings off.  After all, they didn’t seem too keen about thanto-porn to begin with.  Most likely, they would have loathed being a part of it.

One thing the movie demonstrates is something that seems ironic, but isn’t.  According to early reports on the Ellis script, Jeremy is the film's main protagonist.  In fact, the character of Theresa Duncan will apparently make her entrance sometime during the third reel.  Many netizens have wondered why discussion of Blake and Duncan tends to center around the latter.  Granted, here and other places on the ‘Net, we seem to talk more about such things as WotS and Chop Suey than we do Glitterbest and Sodium Fox

I mentioned this earlier in the series, but while discussion of Theresa rules cyberspace, discussion of Jeremy dominates traditional mainstream media.   This was true in life.  It was even more true in death, as Blake’s artworks continued to garner attention.  These later articles tended to mention Duncan in passing if at all.*******  So one might find it tempting to see the cyberattention on Duncan as a type of balance between two partners, each of whom inhabited the realm of the other, but became more of a force on their home turf.  Because she was a fellow blogger, whose interests included popular culture and conspiracy, perhaps those of us doing similar work, in a similar medium can more readily identify with her. 

After all, I can write a conspiracy blog post just fine.  I can even write a movie script.  Conversely, I can’t draw a straight line using a ruler.  Blake could probably draw straight lines freehanded while asleep in the middle of a  blinding snowstorm. .

Currently, Duncan lies at Mount Loretto Cemetery, Lapeer, MI; Blake at Garden of Remembrance Memorial Park; Clarksburg, MD.  So it would seem that these two; a couple so close that like Romeo and Juliet, or Bonnie and Clyde, it’s hard to think of one without thinking of the other; a duo who not only collaborated on shared artistic visions, but who felt perfectly comfortable answering each others’ phone messages and e-mails; that a couple so intimately linked together in consciousness, will spend eternity separated by 546 miles. 

Of course, in cosmic terms, that’s not so far.



_________________
*Rosenbaum himself explored the possibility of suicide/murder in a 3 August 2007 post titled “Did I Hear Jeremy Blake’s Last Words?” Somewhat apologetically, he chided himself and others for contributing to the conspiracy speculation in “Theresa Duncan, Jeremy Blake.” 

**Someone commenting on a previous post also noted errors in the connections made by Constantine.  For example, he stated that Catherine Seipp was married to a man named Dennis Seipp.  According to most sources, however, her husband’s name was Jerry Lazar.

***Then too, one would have to question the effectiveness of such a tactic in stopping conspiracy investigations.  When conspiracy researcher Jim Keith died in September 1999, under comparatively bizarre circumstances, his colleagues not only expressed their doubts as to the cause of his demise, but, for a time, looked more earnestly into his research, which included, among other things, the investigation into the possible assassination of journalist J. Danny Casolaro, and the story that led to his death. 

(Keith died from complications that arose during knee surgery.  Casolaro, in his capacity as a reporter, investigated what originally started out to be the simple theft of a law enforcement software application:  The Prosecutor’s Management Information System, or PROMIS for short.  But the theft turned out to have ties to many other criminal activities involving multinational corporations, government and quasi-government organizations.  Hence, it’s known in parapolitical circles as the Octopus Conspiracy.)

****Thanatos personified death in ancient Greek mythology.

*****From a 2007 paper written by Steffi Menzenbach and Désirée Hippe for the Scientific Services staff of the German Legislature titled “Rechtliche Fragen zu Religions- und Weltanschauungsgemeinschaften [Legal Questions about Religious and Confessional Organizations.]  The authors wrote this during a time when some legislators were attempting to ban Scientology altogether.  

******Wit of the Staircase’s Sitemeter showed a spike of over 800 visitors on what would have been Blake’s forty-first birthday (4 October 2012).  Three weeks later, on Duncan’s forty-sixth birthday (26 October 2012), visits topped out in the neighborhood of 240--in other words, a normal day’s worth of traffic for the site.  At the time,  I wondered if some hard copy source made mention of Blake’s birthday, while no comparable source mentioned Duncan’s, hence the disparity in birthday traffic. 


I’m Only Sleeping

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Please don’t wake me.
No, don’t shake me.
Leave me where I am.
I’m only sleeping.
–John Lennon and Paul McCartney, “I’m Only Sleeping,” Revolver (UK), Yesterday and Today (US),  1966.

As you can probably tell, I haven’t spent much time in cyberspace, lately.  I haven’t visited your blogs.  Hell, I’ve hardly visited this one.

After doing nothing but writing for work and for the last series, I’ve become, well, written-out.  Again, I don’t know how Charles manages to read and write as much as he does and still keep a job and his family.  I’m completely in awe of the man.  It’s something I cannot do.

It’s not that I have writer’s block.  In fact, it’s quite the opposite.  It’s more like writer’s logjam.  I’ve got so much more to say.  For one thing, I want to continue the Assailing the Tender Age metaseries.  But after my gig ended last June, and after the last post in July, I reckoned that I needed to take some time to goof off.  I don’t know how much of a presence I’ll be.  And I’ll try to get back into communication with everyone.  But slowly. 

I’ve been using the time to catch up on some research for possible future series.  In addition to the ones I’ve mentioned previously (the deaths of Vicki Morgan, Pope John Paul I, and the Son of Sam slayings), On top of that, I’ve been delving into several other things:

The first is the Zodiac killings.  Currently, I’m looking into the possibility that (a) there was more than one individual involved; (b) that many of the alleged murders are actually not connected to each other, but were tied together by someone writing in behalf of the assailants, or one of the assailants; (c) that a core of five or six murders might have actually been related to either organized crime and/or British occultists; and (d) some of the murders might have been committed by people connected to above British occultists, Charles Manson, or both.  One of the things I’m most interested in is the story of Arthur Leigh (pronounced ‘Lay’) Allen, who for many years was one of the prime suspects.  But DNA evidence failed to link him too the murders.

Second topic: the Robert F. Kennedy assassination.  This was a topic I planned to write about many years ago, but never got around to it.  I’m not sure, now, if I ever will.  Noted researcher Lisa Pease plans to come out with a new book on the assassination later this year.  I’ve followed her research over the years, and have read what she has had to say about the nature of political assassination in the 1960s.  If her past work is any indication, I’m anticipating that hers will be a very important book on the subject, and I’m eagerly awaiting its completion and release.  I’m quite sure I’ll review it, once it comes out.  I can wait awhile to see what needs to be said about the assassination after reading it.  But I expect that Pease will be quite thorough.

And then, there’s a third possible series I’m looking into.  I’m not researching it per se.  Just looking into whether or not I want to research it. 

You see, it involves going back into the subject matter of a previous series on The X-Spot.

Looking through a Glass Onion

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I told you ‘bout Strawberry Fields:
You know, the place where nothing is real.
Well, here’s another place you can go,
Where everything flows.

Looking through the bent back tulips
To see how the other half lives,
Looking through a glass onion..
–John Lennon and Paul McCartney, “Glass Onion,” The Beatles, 1968.

Back in the fall of 2007, I wrote an X-Spot series on the Paul-Is-Dead rumor (see sidebar).   My initial thoughts on the subject were that the Paul-Is-Dead rumor doesn’t have anything specifically to do with ex-Beatle Sir J. Paul McCartney, but rather with an in-joke that began within their support staff; specifically, with a semi-fictional band calling themselves Billy Pepper and the Pepperpots.* After my correspondence and interaction with various persons populating the Nothing-Is-Real board, a forum dedicated to proving that McCartney died in 1966, I came to the opinion that this might have been something more, specifically a culture jam (see 11 February 2009 post).  According to the moderators of that board, Neil Aspinall, long-time CEO of Apple Corp had participated using the handle Apollo C. Vermouth.  Vermouth, who depicted himself as an insider, likened the true intentional mystery to a novel, in which everyone has read all of the chapters except the last.

At the time, I thought that rather cool, in a way.  If true, then there is a mystery, a part of the story yet revealed.  It would be fantastic if someone could someday discover that last chapter so that we could all enjoy it.

That is, someone other than me.

And, of course, it makes a certain sense.  Imagine that you’ve pulled off THE culture jam of the Twentieth Century, and no one noticed.  The fun of the jam, not to mention any salient or cogent political or philosophical point, is the reveal.  I think it’s possible that, because of the underlying ideology surrounding Apple Corp, those behind the rumor were simultaneously mocking, yet, ironically, honoring their fan base.  It was something designed to send Beatlephiles into a tizzy--yank their chains, so to speak--but at the same time relying on them to ultimately figure it out for themselves, and take their rightful credit for partnering with the band on what they might have conceptualized as a piece of community art.  Because of fixating on the notion of trying to prove McCartney physically dead, the main point kinda got lost in the shuffle.  I can therefore understand why someone like an Aspinall, a man who at the time I posted the series faced grave health conditions,  might ardently contribute to such online forums.  Simply put, he wanted to see the reveal in his lifetime.

If that’s the case, we all let him down.  Aspinall passed away in March 2008.

In the fall of 2012, I received some comments from a netizen using the handle Dr./Gerald Tomoculus.**  He suggested I take another look at the subject:
You have all the material you need, you just have to apply a couple other things to it -- one being Magick. The other being that there have been Two Pauls. All along. How? Oh I don't know. But the evidence keeps mounting that that is the case. And saying someone died, but is still alive, is a great way to get people to look at other things, rather than what's actually there. And the implications are staggering.

Especially when you go back to 1947. But you did. You've got most of this covered and knowledgeable of it. It just has to be applied to Paul Is Dead :)
Curious, I thought.  How would he know what I needed to “solve the mystery” unless he had already solved it himself, or was close to doing so?  If that’s the case, he can discover the last chapter by himself.  He doesn’t need me.  And, you'll have to forgive me, Doc T., but I found this especially intriguing since I had just finished a series that discussed Discordianism, and the penchant of adherents to pull “Jakes,” or in other words send various people, often low-level bureaucrats, on wild goose chases, or as we call them around here, ‘snipe hunts.’ 

I thought--and you’ll have to beg my pardon, Dr. T. if you’re reading this, but I’m gonna talk about you for a bit--maybe he, and like-minded individuals are merely dedicated to solving the culture jam, and expanding the search to include more individuals.  Interestingly, for reasons too involved to explain here, that would be quite consistent with the ideological center of Apple Corp, and is probably the most appropriate way to go about it. 

Then other possibilities came to mind.

Whatever the case, I find Dr. T. quite enjoyable to communicate with, and I've grown to like him.  His website’s a lot of fun, and I highly recommend taking a look at it.  It’s a place where you can get lost for awhile, whether Beatlephile or no.

For what it’s worth, there really seems to be an intentionally constructed riddle to solve that could perhaps to lead to some profound, cogent statement.  Part of that statement is dark, perhaps something the Beatles felt uncomfortable talking about in concrete terms, or even in the abstraction of poetic lyrics.

So, I promised to take another look at the PID rumor, not so much to solve anything, or research the subject in earnest (I’m a bit more careful about my time, these days), or even post much more than I already am on the subject.  Rather, I’m taking a peek at it to see if it’s something I really want to pursue further, trying to estimate the amount of research and work that it will take.  The jury’s still out on this one.  But if I do post another series on McCartney’s putative demise, you’ll be the first to know.

In the next post, I'll tell you what I've been thinking.

__________________________
*  Fictional, because the band didn’t exist in the way that musical groups normally do, but rather as an ad hoc endeavor embarked upon by the performers involved.  I said "semi-" because the effort actually produced real music.

**Tomoculus is a rare nerve disorder.  If you query the term on the ‘Net, you wont find much about the condition.  There’s thus the advantage of having it stand out when Googling the character string.
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