Chapter 9 The Labyrinth Path 1

Chapter 9: The labyrinth

Path 1:

-P. 107 footnote X : stop p. 107 footnote 135

-P. 114 footnote 135 : stop p 114 footnote 129

-p 111 footnote 129 : skip 137 : Stop p 112 footnote 130

-p 112 footnote 130 : stop p 112 footnote 131

p 112 footnote 131 : stop p 113 footnote 132

p 113 footnote 132 : stop p 113 footnote 133

end path one: Dead End

Path one Summary:

The General idea of this path is one of centering. Centering of one’s being (spiritual), center of a place or thing (physical) and center of ideas (societal).

Path one Analysis:

Opening with the three quotes, all translated in footnote X, laid out in a semi arch makes me think of the scene from Dante’s Inferno where before entering hell Virgil reads the quote above the entrance “Abandon ye all hope who enter” or some such. An approiate image to preface the “entrance” to this labyrinth.

Footnote 135: Here is an appropriate time to address the significant differences between a maze and a labyrinth. Labyrinths were created as very simple structures that had one or more paths that would all wind around in simple non crossing paths all leading to the same place: the center. The idea behind a labyrinth was to serve as a visual and physical metaphor for a pilgrimage where as the pilgrim would enter the labyrinth and by the end of the “journey” find their inner/spiritual center at the outer/physical center of this labyrinth. The labyrinth both confines one in that one has only one path and one destination but allows one to wonder at will because no matter how one wonders or where or how fast, they will eventually reach the center.

A maze on the other hand is a intentionally complex structure or pattern with multiple cross paths and choices that may or may not have a center. Source

Footnote 129: I generally understand what Derrida is saying here, but it’s too complex for me to re explain with out loosing something significant, however I found this brilliant explanation of Derrida’s concept of deconstructionism from the work quoted in here “Structure, Sign, and Playhere.

Footnote 133: Both Escher and Lissitzky were artists who challenged fundamental ideas in art and expression. Escher’s lithography Relativity is particularly appropriate in this footnote in that in the analysis of the lithograph the idea of gravity wells are explored which is show cased in the behavior of gravity/gravitaion of characters relative to their environment.

Gravity wells are a concept originally proposed by Albert Einstein in that the cosmos can be thought of as a fabric and the larger an object the more deeply it presses on that fabric and that “well” created expresses it’s relative gravity.

There’s also the obvious of how this picture is relevant to this chapter in how the picture explores perspectives, uncanny/impossible structures, and decentralization.

Lissitzky on the other hand takes a very different approach to art in. Founded a movement called Suprematism where he, essentially states that objects and visual pictures in art are over complications of the mission of the piece because it’s the essence or the feeling that should be conveyed that matters and all else is just a distraction. This reminds me of the idea proposed by Derrida of Bricolage where he, Lissitzky, uses symbols [tools] on hand to express his ideas. Tools that weren’t specifically crafted for said idea, the symbols he uses are usually geometric symbols of monochromatic features. Very interesting stuff, it’s also particularly worth of note since Lissitzky’s suprematism was a rebelion against the constructionalism movement that basically did the stark opposite: establish art in a way that specifically tailored it self to the needs and uses of the intention at hand.

Of the 3 pages Johnny mentions, the most significant one to mention (not to say they’re not all worth a gander since now given our new found perspective, we can view these pages and passages in a new light) is page 356 lines 9-17 explaining the concept of Zeno’s Arrow which, to me, is a good visual concept to apply to Derrida’s deconstructionalism. It’s not perfect, but it (I think) is a good starting off point.

 

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Chapter 9: Labyrinth

Chapter 9: The Labyrinth

Note: As you already know, the format of chapter 9 is…well complex to say the least. It’s taken a while but I believe I’ve come up with a cohesive approach to this chapter and it’s analysis. What I’ve done is broken the chapter down into “paths” that follow the footnotes and the narrative and such. Naturally there’s a lot of overlap, so to try to prevent excessive repeated notes and ideas, I’ll try to approach each note/reference in context of the path being focused on. This chapter analysis will be broken down into one post per path instead of one post per page as has been the usual. Here is a map of the paths I’ve mapped out:

Path 1:

-P. 107 footnote X : stop p. 107 footnote 135

-P. 114 footnote 135 : stop p 114 footnote 129

-p 111 footnote 129 : skip 137 : Stop p 112 footnote 130

-p 112 footnote 130 : stop p 112 footnote 131

p 112 footnote 131 : stop p 113 footnote 132

p 113 footnote 132 : stop p 113 footnote 133

end path one: Dead End

Path one Summary:

Path one Analysis:

Path 2:

-P. 107 footnote X : stop p. 107 footnote 135

-P. 114 footnote 135 : stop p 114 footnote 129

-p 111 footnote 129 : stop p. 112 footnote 137

-p. 114 footnote 137 : stop p 114 footnote 134

-p 114 footnote 134 : stop p 114 footnote X

footnote X loops to p 107

End path two: Loop

Path 3:

Start: P. 107 : Stop p 107 footnote X

p 107 footnote X : skip footnote 135 : stop p 107 footnote 120

p 107 footnote 120 : stop p 109

End path three: Dead End (at incredibly hot litica)

Path 4:

Start: P. 107 : skip footnote X : stop p 111 footnote 129

Footnote 129 leads to either a dead end (path 1) or a loop (path 2)

End path four: loops to path 1 or path 2

Path 5:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

p 114 footnote 134 : stop footnote X

End path five: Loop

Path 6:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : stop p 114 footnote 135

p 114 footnote 135 : stop p 114 footnote 129

footnote 129 loops back to path 1 (dead end) and path 2 (loop)

End path six: Loops to path 1 and path 2

Path 7:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

stop p 114 footnote 136 : stop p 114 footnote K

p 109 footnote K : stop p 109 footnote _||_

p 109 footnote _||_ : stop p 109 footnote 121

p 109 footnote 121 (back to text) : stop p 109 footnote 122 (back to text)

stop p 110 footnote 123 : p 110 footnote 123

stop p 110 footnote 127 (back to text) : stop p 110 footnote 124

stop p 111 footnote 125 : end p 111 footnote 125

End path seven: Dead End

Path 8:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

stop p 114 footnote 136 : stop p 114 footnote K

p 109 footnote K : stop p 109 footnote _||_

p 109 footnote _||_ : stop p 109 footnote 121

p 109 footnote 121 (back to text) : stop p 109 footnote 122 (back to text)

stop p 110 footnote 123 : p 110 footnote 123

stop p 110 footnote 127 (back to text) : skip p 110 footnote 124

stop p 110 footnote 126 (back to text) : stop p 111 footnote 128 (back to text)

End path eight: Dead End

Path 9:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : stop p 114 footnote 137

p 114 footnote 137 : stop p 114 footnote 134

p114 footnote 134 : stop p 114 footnote X

End Path nine: Loop

Path 10 (fork A):

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

stop p 114 footnote 138 (fork) : stop ch 6 p 76 footnote 82

End Path 10 (fork A): Technical Dead end/very long loop

Path 10(fork B):

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

stop p 114 footnote 138 (fork) : stop ch 11 p261 footnote 249

End path 10 (fork B): Not sure how to classify. Dead end or Exit?

Path 11:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : stop p 114 footnote X

End path 11: Loop

Path 12:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : stop p 115 footnote 135

footnote 135 leads to footnote 129 which ends up leading back to path 1 and path 2

End path 12: loops to path 1 or path 2

Path 13:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

stop p 115 footnote 140 : stop p 115 footnote X

End path 13: Loop

Path 14:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : stop p 115 footnote 141

stop p 117 footnote 142 : p 118 footnote 142

End path 14: Dead End

Path 15:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : stop p 115 footnote 141

End path 15: dead end

Path 16:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

stop p 119 footnote 144 : p 119 footnote 144 (I interpret this as a hole or a window “punched through the maze/labyrinth walls making an opening through the maze to a different part. This part of the text could also be interpreted as the descending cavern lined by the spiraling stair case)

resume on p 145 : stop p 145 footnote 190 (back to text)

stop p 146 footnote 191 (back to text) : stop p 146 footnote 192 (back to text)

stop p 147 footnote 193 (back to text) : stop p 148 footnote 194 (back to text)

stop p 149 footnote 195 : stop p 149 footnote 196

stop p 150 footnote 197 (back to text)

End Path 16: Dead end

Path 17:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

stop p 119 footnote 144 : p 119 footnote 144 (I interpret this as a hole or a window “punched through the maze/labyrinth walls making an opening through the maze to a different part. This part of the text could also be interpreted as the descending cavern lined by the spiraling stair case)

resume on p 145 : stop p 145 footnote 190 (back to text)

stop p 146 footnote 191 (back to text) : stop p 146 footnote 192 (back to text)

stop p 147 footnote 193 (back to text) : stop p 148 footnote 194 (back to text)

skip p 149 footnote 195 : stop p 151 footnote 198 (back to text)

stop p 151 footnote |> : stop p 151 footnote K (leads back to path 7)

End path 17: loops back to path 7 (Dead End) Also End of chapter

Path 18:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

stop p 120 footnote 146 : stop p 134 footnote 147

stop p 121 footnote 148 : p 121 footnote 148 (exhibit One)

exhibit one p 530 instructions lead to Bibliography on p 152

End path 18: Dead end and End of chapter

Path 19:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

stop p 121 footnote 152 : go to ch 17 p 389

stop p 393 footnote 367

End path 19: Dead end (skips way ahead)

Path 20:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

stop p 123 footnote 155 : stop p 123 footnote X

End path 20:Loop

Path 21:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : stop p 128 footnote 164

Path 21: Dead end

Path 22:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

stop p 134 footnote 166 : stop p 130 footnote 167

p 131 footnote 167 : stop p 135 footnote 168

stop p 135 footnote 169 : p 137 footnote 169

stop p 137 footnote 155 : p 123 footnote 155 : stop p 123 footnote X

End path 22: Loop

Path 23:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

stop p 134 footnote 166 : stop p 130 footnote 167

p 131 footnote 167 : stop p 135 footnote 168

skip p 135 footnote 169 : stop p 136 footnote 171

p 137 footnote 171 : stop p 127 footnote 172 (back to text)

stop p 137 footnote 175 : p 138 footnote 175 to appendix E p 556

stop appendix E p 556 footnote 434

End path 23: Dead End

Path 24:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

stop p 134 footnote 166 : stop p 130 footnote 167

p 131 footnote 167 : stop p 135 footnote 168

skip p 135 footnote 169 : stop p 136 footnote 171

p 137 footnote 171 : stop p 127 footnote 172 (back to text)

skip p 137 footnote 175 : stop p 137 footnote 177

p 138 footnote 177 : stop p 138 footnote 178

stop p 138 footnote 179 : appendix II-B p 573

End Path 24: Dead End

Path 25:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

stop p 134 footnote 166 : stop p 130 footnote 167

p 131 footnote 167 : stop p 135 footnote 168

skip p 135 footnote 169 : stop p 136 footnote 171

p 137 footnote 171 : stop p 127 footnote 172 (back to text)

skip p 137 footnote 175 : skip p 137 footnote 177

stop p 137 footnote 173 : stop p 137 footnote 176

p 138 footnote 176 to Appendix B p 547 : stop p 547 footnote 173

End path 25: Loop

Path 26

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

stop p 134 footnote 166 : stop p 130 footnote 167

p 131 footnote 167 : stop p 135 footnote 168

skip p 135 footnote 169 : stop p 136 footnote 171

p 137 footnote 171 : stop p 127 footnote 172 (back to text)

skip p 137 footnote 175 : skip p 137 footnote 177

stop p 137 footnote 173 : skip p 137 footnote 176

stop p 137 footnote 174

End Path 26: Dead End

Path 27

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

stop p 134 footnote 166 : stop p 130 footnote 167

p 131 footnote 167 : stop p 135 footnote 168

skip p 135 footnote 169 : skip p 136 footnote 171

stop p 136 footnote 180 (back to text) : stop p 137 footnote 170 (back to text)

End path 27: Dead End

Path 28:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

skip p 134 footnote 166 : stop p 139 footnote 181 (back to text)

stop p 139 footnote 182 : stop p 141 footnote 183

stop p 144 footnote K

End path 28: Loop

Path 29:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

skip p 134 footnote 166 : stop p 139 footnote 181 (back to text)

skip p 139 footnote 182 : stop p 141 footnote 184 (back to text)

stop p 143 footnote 185 (back to text) : stop p 143 footnote W (back to text)

stop p 144 footnote 186 (this whole rant about “photo manipulation” and how it will “ruin photography” is one of this book’s age marks) : stop p 144 footnote 187

stop p 144 footnote (double down carrot) : stop p 144 footnote 188

stop p 145 footnote 189 : stop p 145 footnote 196 (loops back to path 16)

End path 29: Dead End

Path 30:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

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stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

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stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

skip p 134 footnote 166 : stop p 139 footnote 181 (back to text)

skip p 139 footnote 182 : stop p 141 footnote 184 (back to text)

stop p 143 footnote 185 (back to text) : stop p 143 footnote W (back to text)

stop p 144 footnote 186 (this whole rant about “photo manipulation” and how it will “ruin photography” is one of this book’s age marks) : stop p 144 footnote 187

stop p 144 footnote (double down carrot) : skip p 144 footnote 188

End path 30: Dead end

Path 31:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

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stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

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skip p 134 footnote 166 : stop p 139 footnote 181 (back to text)

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stop p 143 footnote 185 (back to text) : stop p 143 footnote W (back to text)

stop p 144 footnote 186 (this whole rant about “photo manipulation” and how it will “ruin photography” is one of this book’s age marks) : stop p 144 footnote 187

skip p 144 footnote (double down carrot)

End path 31: Dead end

Path 32:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

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skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

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stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

skip p 134 footnote 166 : stop p 139 footnote 181 (back to text)

skip p 139 footnote 182 : stop p 141 footnote 184 (back to text)

stop p 143 footnote 185 (back to text) : stop p 143 footnote W (back to text)

stop p 144 footnote 186 (this whole rant about “photo manipulation” and how it will “ruin photography” is one of this book’s age marks) : skip p 144 footnote 187

End path 32: Dead end

Path 33:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : skip p 114 footnote 137

skip p 114 footnote 138 : skip p 114 footnote X

p 115 footnote 139 : skip p 115 footnote 135

skip p 115 footnote 140 : skip p 115 footnote 141

stop p 119 footnote (back to text) : stop p 119 footnote 143 (back to text)

skip p 119 footnote 144 : stop p 119 footnote 145 (back to text)

skip p 120 footnote 146 : stop p 120 footnote 149 (back to text)

stop p 120 footnote 150 (back to text): stop p 121 footnote 151(back to text)

skip p 121 footnote 152 : stop p 121 footnote 153 (back to text)

stop p 122 footnote 154 (back to text) : stop p 122 footnote F (back to text)

skip p 123 footnote 155 : stop p 123 footnote 156 (back to text)

stop p 123 footnote 157 (back to text) : stop p 123 footnote 158

stop p 125 footnote 159 (back to text) : stop p 125 footnote 160 (back to text)

stop p 126 footnote 161 (back to text) : stop p 127 footnote 162 (back to text)

stop p 128 footnote 163 (back to text) : skip p 128 footnote 164

stop p 133 footnote || (back to text) : stop p 134 footnote 165 (back to text)

skip p 134 footnote 166 : stop p 139 footnote 181 (back to text)

skip p 139 footnote 182 : stop p 141 footnote 184 (back to text)

stop p 143 footnote 185 (back to text) : stop p 143 footnote W (back to text)

skip p 144 footnote 186 (this whole rant about “photo manipulation” and how it will “ruin photography” is one of this book’s age marks) : stop p 145 footnote 190

Loops back to path 16 (end of chapter) and path 17 (dead end)

End path 33: Dead end or End of chapter

Hopefully this is clear, if not feel free to leave a comment in reference to anything that might not be clear. Bear with me as this next part is the single part of this project I’ve been dreading the most and will take some time.

 

Chapter 8 footnotes 117 and 119 Johnny’s story

Jonny’s Story

Pages 99 – 100 and pages 103-6

Footnote 117: the mention of jonny altering the text (and as he mentions in this note that such changes can dramatically alter the tone of the entry) despite trying to preserve the text in it’s original state he doesn’t seem able to maintain perfect intergerty further altering out perception of the original text and possibly changing the tone of parts of the text to come.

Footnote 119:

Page 103

Lines 2-3: “…those months in Alaska.” Its interesting to note the last chapter’s opening quote had to do with a young man venturing through Alaska.

Lines 4-5: “…more like thirteen going on thirty-three…” its hard to believe that jonny got a job in alaska in a factory at 13 but the middle point between 13 an 33 ( [13 + 33]/2 = 23 ) is a more believabe age for him to have made it to alaska and gotten employment.

page 104

Line 22: “I’d been invited out on a fishing boat…” this story is rather approiate given the SOS morris code theme (which originated for notical use).

page 105

Line 19: “Where she’s concerned I’m happy to repeat my self.” Jonny’s relation ship with Thumper reminds me of the relationship between Echo and Narccissis (Jonny being Echo and Thumper being Narccissis)

Page 106

Lines 17-8:

“…in a German Homonyn for the wispered Word..” This passage has always puzzled me and the best I can get is this interpetation from the HOL forums:

“Sorry to disappoint you, D, but I’m not at all sure what this refers to, since the identity of the homonym kind of depends on that of the ‘whispered Word’.

The Word, of course, is God, but that doesn’t really fit here (since ‘god’ doesn’t mean anything in German), but I wonder if it matters whether it’s the Hebrew davhar or the Greek logos we’re dealing with here. ‘We are only god’s echoes’, as H.E. Rose tells us on p. 45, but in this instance there are no echoes, so does that mean we don’t exist? Or that God doesn’t? Or perhaps both? By which I mean neither?

Another word which follows hard on the ‘echo ramble’ is of course ‘your word’ (p. 48, cf. p. xxii):

  • …the failure which began it all in the first place, probably right after one burning maze but still years ahead of the Other loss, a horrible violence, before the coming of that great Whale, before the final drift, nod, macking skid, twist and topple—his own burning—years before the long rest, coming along in its own way, its own nightmare, perhaps even in the folds of another unprotected sleep (so I like to imagine), silvering wings fragmenting then scattering like fish scales flung on the jet stream, above the clouds and every epic venture still suggested in those delicate, light-cradled borders—Other Lands—sweeping the world like a whisper, a hand, even if salmon scales still slip through words as easily as palmed prisms of salt will always slip through fingers, shimmering, raining, confused, and no matter how spectacular forever unable to prevent his fall, down through the silver, the salmon, away from the gold and myriad of games held in just that word, suggesting it might have been Spanish gold, though this makes no difference…

You don’t need me to point out the intensely personal nature of this passage, or the fact that this is, on the whole, (and I quote) ‘one fucker of a footnote’.

There are nevertheless some resonances between this passage and the ‘German homonym’ passage on p. 106, and I think it’s fairly clear that he’s talking, at least in part, about his parents in both instances. ‘the coming of that great Whale’ obviously refers to the Whalestoe, and indeed ‘the Other loss’ might be read as a reference to the loss of his mOther. The macking skid, on the other hand, is clearly a reference to his father’s death (p. 585: ‘the Mack truck he was in swerved into a ditch and caught fire’, hence ‘his own burning’, as juxtaposed, presumbably, with Johnny’s burnt arms, which created the ‘burning maze’ of scars on his forearms), the ‘nod’ presumbably belonging to the driver who ‘had fallen asleep at the wheel’, which is then brought up again on the following page with the mention of Sleep, ‘that bloody handmaiden’.
But all that is by the by, really; it’s just so easy to get lost in this passage. What initially drew my attention to it in this context is the mention of ‘a whisper, a hand’, sweeping the world (in fact I’m not quite sure what is meant to be sweeping the world; is it the salmon scales, or the failure which began it all? — In any case Johnny seems to have appropriated the ‘school of salmon’ from the previous page and married it to the salmon he knew from Alaska (p. 104)), and the ‘word’, not just ‘your word’ but also ‘the myriad games held in just that word’, where again I’m not sure which word he’s talking about; gold, or your word?

Interestingly (maybe), in footnote 62 there is a movement ‘away from the gold’, whereas on p. 106 we are ‘flung high above the rust and circling kites’. Trenton’s Truck, on p. 325 is described as an ‘idling hunk of rust and gold’. There are ‘monuments of rust’ at the place Raymond takes Johnny on p. 93, so I’m wondering whether perhaps Johnny unites his two fathers in this mythical Truck, or indeed whether Johnny pictures Raymond as the driver of the Mack truck, and thus responsible for his father’s death.

So, all this to say essentially that I don’t know what the German homonym is.

So sorry.”

-fearful_syzygy source

chapter 8 page 102

Chapter 8

Page 102

S or . . .

Lines 12-3:

“(Short two cameras, Navidson has to take down one of the wall mounted Hi 8s from his study and another from the upstairs hall.)” Not a terribly important detail but a detail worth noting later in the evacuation chapter.

MS or – – . . .

I’ve decided to translate “ – – . . . ” as “MS” because in morris code each “ – ” and “ . ” are measured in Milliseconds and the pauses between words are also meausred in milliseconds as to tell the reciever where one word ends and another begins. This then serves as a pause between S.O.S. Signals; the first started on page 97 and ends on page 102 then there is this “pause”. This pause can also be read as the end of the chapter (like a very declarative period) or as a pause between Johnny’s messages Footnote 117 “Fuck” and footnote 119 “Buttons”.

 

chapter 8 page 101

Chapter 8: SOS

Page 101

O or – – – (Cont)

Lines 18-25:

For those keeping track, this action is happening is happening on page 128.

S or . . .

Lines 39-40:

– “…unfortunately it only has one answer: because he is the great Will Navidson.” notice the unusually long space between “is” and “the”. This answer seems to be set up like this to express that Will Navidson just is. Being “The great Will Navidson” is what Navy is and all he knows how to be. The space almost sets up a dramatic build up of Navidson’s essence or it provides a moment (a literal space for pause) for the reader to consider what Navidson is and then they elaborate after the moment passes.

 

chapter 8 page 99

Chapter 8

Page 99

O or – – – (cont)

Lines 1 – “Time passes.”

Subject, verb. Very short sentence, very terse. It stands out on this page because it’s the shortest sentence by four words on this page and is by far the least complex as every other sentence is structurally complex and varied in tempo and subject matter. The subject matter of this one is time passing which appropriately sets the tone for the rest of the page as the primary focus of this passage is about how time passes in the Navidson house hold while they wait for radio contact.

However the brevity of this sentence sticks with me because of the entire “O” or “- – -” segment (pages 98-101) it’s uncharacteristically short, breaking the theme of long, complex sentences emphasizing the long drawn out format reflecting the morris code dashes.

Lines 1-9 (as a whole)

The first sentence got me thinking about Navidison and this whole chapter being a cry for help and given that he knows what’s going to happen to his marriage and brother and the like, viewed as a whole it’s can be scene as a cry of distress for every one in this paragraph (Navidson, Tom, Chad, Daisy, and Karen).

If we examine the length of the first 3 sentences we see a pattern: The first one is short, the second one is medium short and the third one is the second shortest sentence of the page. Starting to see a familiar pattern emerge here? “ . . . ”

The next three sentences are longer and more complex. “ – – – ”

The next sentence breaks pattern though in that it’s a long complex sentence which on it’s own seems to make an additional dash, but look closer and you’ll find the sentence is broken into shorter segments by commas. However, despite my best efforts the segments of the final sentence makes nothing that I can recognize. What I got out of it was, “ – – – . . ” (based on counting the words in each segment: 5, 9, 5, 4, 3 [5 and up being dashes, and 4 and below being dots]) even reconfigured as “ . – . . . ” it yields nothing for me. I’m willing to admit there could some sort of combination I did not try or there’s something I’m missing. What is interesting to note is that this pattern of “ – – – . . ” mirrors the pattern on page 102 of “ – – . . . ” both this sentence and that final paragraph featuring Karen on the phone with her mother making incomplete SOS signals. Or, in the context of the book (busy signal = . and ring = – from page 103) we get 3 rings and 2 busy signals.

And if we’re looking at this, it should be noted that the first part of the paragraph spells out “SO” which is mentioned and examined further on page 103.

Lines 22-3 – “[Reston] has an almost animal like ability to accept the world as it comes to him.”

This is an interesting word choice to note in that Reston, the pets, and the children are the only characters to to accept the labyrinth with little to no question. This seems to tie into the them of faith, animals, and children. More on this later.

Footnotes

Footnote 114

Concerning the book Tom is said to be reading “Where The Wild Things Are” it’s said to be appropriate to the context of this story for reasons unstated. My interpretation is that the story, Where the Wild Things Are, is appropriate because it concerns empowering younger children or people made to feel small over larger forces they cannot control, which is essentially what Navidson is trying to do with this documentary. He’s made to feel small by the enormity of his own home so he seeks to combat this monster by trying to quantify it to prove that it’s not as large as it seems and maybe even shrink it’s size by capturing it on a VHS (which is certainly smaller than a man, physically).

However on a more metaphorical level, the monster his house turns into might be viewed as a manifestation of his issues (and even more probably the issues of Karen, their marriage, and his fractured relationship with his brother). Navidson has tried to be king or master of these problems by scaring them off by doning the wolf costume, like the boy in the book, and acting like a fearless warrior conquering all he sees by capturing the horror of war and famine in his 35mm camera. When he’s confined to this house (the boy is sent to his room by his mother) products of his imagination transports him to an isolated island of monsters that frighten and threaten him. Similar to the boy in the book he eventually comes to peace with his demons and at which point he’s forgiven ultimately TNR ends with a happy ending…well sort of. MZD seems to have intended the ending of HOL to be a happy one (as stated at his book reading in St. Louis in October of 2012, [which I attended]) however I believe that’s up to interpretation. As an existential or transcendental story, it could be interpreted as a happy ending but there’s still some elements and characters that cause me to be in somewhat disagreement. More on this at a future point.

Footnote 115

“Pawns, Bishops & Castles” is a reference to MZD’s sister (Poe) and one of her songs “Control”. Lyrics