Alchemisland

when pictured like this, with its darkened viewing rooms, costumed audiences in fine silks with foreheads girdled by gem-set diadems, and the increasing abuse of the locus amoenus as a tool of subversion, it recalls how the origins of cinematic viewing experiences are rooted in bacchic and dionysian mystery theatres.

in an oblique yet definite way, we have abandoned previous methods of shedding metaphysical dualism which in the cults of the later dawn age comprised of ritualized murders, the frenzied zenith of which would symbolically see ”participants’ – for lack of apter term – shed the separation enforced upon them in the material plain.

now we no longer need our blessed knife nor the ruined flesh remnant whose jagged cuts like tyre trails in snow mark the operations’ success. Now, we are led to our seats by Ushers, the lusty associates of Pan whose open robes hint to the orgy that will close proceedings, where the dimming lights and metronomic crunch of rows of popcorn chewers induce the audience into a similar experience; the knowing dismissal of the self is easily accomplished in this environ, allowing us to further inhabit the world of the screen and therefore the mind of another, thus this shedding of dualism in the dionysiac manner is accomplished