By the Son of The Ragged May the King
Tips before reading:
(1) The total number of characters Chinese this article is 18,770 words, including all English characters and literature notes totaling 23,250 words.
(2) This article means that the reader has read the first part of the novel and has a rough understanding of the other contents of the novel.
(3) All citations in this article are found in the references.
When penmans created the grand epic Space Opera, Franklin Herbert engraved the Pseudo scope into the text.
The picture appeared simultaneously at different times, in different spaces, on different giant screens (IMAX), the miracle (Kwisatz Haderach) created by the Bene Gesserit.
Although that was years later, he had already become Necromancer for some time.
Only by transcending the image de synthèse to form an audiovisual experience of hyperespace[1] can we see the deep experience of hyperreality.
Director Denis Villeneuve said that the work was exclusive to IMAX.
Wellington Yueh once gave Paul Atreides a gift. It was a black, rectangular thing. "This is a very old Oranje Catholic Bible," Dr. Yue said.
When the book is opened, it will continue to emerge progressively upward text, and project three-dimensional pictures on the other side, and when these pictures cover the entire field of view, they can be called IMAX, but when these pictures are condensed into boxes similar to the tip of Paul's thumb, they are called film viewers, or IMIN (image minimum). [2]
<h1 class="pgc-h-arrow-right" data-track="12" >(ᑐ)Thethesis Religion I</h1>
Deity。
“Superstition”. Dr. Liet Kynes.
"These are superstitions." Judge of the Change, Dr. Leth Keynes, said so.
She scoffed when she first heard that Paul wanted to change the empire by making a play of the throme, but she still recalled the Mu · The story of Lisan al Gaib.
<h1 class="pgc-h-arrow-right" data-track="16" > how gods become gods</h1>
The Son of God was born like this, but how did God become God? The second half of the sentence is not depicted in this Dune, and it can be expected that the second part will unfold more subtly. But God did not necessarily "lead the multitudes to be recognized by Him (and became Fireshadow)", but rather:
“A great man doesn’t seek to lead. He’s called to it, and He answers.” Duke Leto Atreides.
"Great people do not take the initiative to become leaders, but are called to respond." Duke Leto Ertridi said to Paul, "This is the last word of your grandfather's legacy."
Whether you become a god or an emperor, through the myths and rumors that have lasted for generations, it has long been difficult to distinguish between true and false.
Paul had to face the fate of accepting the false value of being created as a savior, but what was Paul's motivation for being born and educated? Was it Lady Jessica's love for Duke Leto? Or was it to be bred as a Mentat? Or did Jessica see something reverend Mothers had never seen before? That is, paul is the chosen son of their quest, Kwisatz Haderach?
No, it's not. What the Sororghum wanted was not Paul.
<h1 class="pgc-h-arrow-right" data-track="22" > manipulated gods</h1>
Rather, he is the one who can dispel the feud between the Ertridi family and the Harkonnen family, who is supposed to be a descendant of the daughter of the former family and the son of the latter family, who can accurately predict the future of all people, and who will combine the three peaks of the Virgin, The Gatetite, and the Guild Navigator into one.
This man certainly has no doubt (?) Will become the emperor, but also become the Marionette of the Sorority, a plan that has been executed for tens of thousands of years (10191 AG), which is also the chronology of the beginning of the movie "Dune", perhaps the first year of the record home page is opened by the Sor.
The Chosen Ones can see the past memories and futures of all the men that the Sisterhood can't see, and when they want to access the memory time and space of the males, the whole attempt is even more terrifying than being stabbed by Gom Jabbar, because it will touch death in the form of the past.
When the future cannot be predicted, it is not because of the lack of ability to predict the future (lack of memory of male chromosomes), I am afraid that it is precisely because of the integrity of its ability that the future will be colorless and dark. Because the future does not have the entire bloodline of predictors, philosophy calls this "self-defeating prophecy"[4]. Also known in economics as the "two levels chaotic system"[5], history is constantly changing because of the influence of predictions. After all, history is not a weather forecast, and weather forecasts may be able to see changes in airflow over the next 14 days, but who would know what the weather will look like in smaller places, and who would have predicted that the planet Arrakis would later become a habitable planet that is no longer a sand dune?
<h1 class="pgc-h-arrow-right" data-track="27" > a prophecy</h1>
For the Sorority, Paul's actions in the second and third parts of the novel Dunes are nothing less than a catastrophe, but this is also the wonder of the future to which the Divine Personality has arrived, and it is precisely because of the inevitable efforts of the Sorority over tens of thousands of years that Paul was accidentally born and found his own gravedigger.
This intense self-denial prophecy intertwined with self-fulfilling prophecy forms Paul's seemingly true and false future dreams, which are constantly being repaired by the richer visual details contained in the IMAX giant screen.
Or, in other words, as long as one can predict one's own death, one must be able to avoid it, and when one cannot predict one's future, as the Sorority did, it is inevitable death.
<h1 class="pgc-h-arrow-right" data-track="31" > religious god</h1>
This is the power of religion, although the Sorority does not recognize itself as a religion.[6] But it was essentially religious acts, and they also had missionaria Protectiva that specialized in spreading mythological narratives. Paul is a dual myth, one is Quetzaltz Hadlakh, the other is Mu · Lisan Adib, and the two stories are quite similar. In fact, the latter story is a copy of the former story, and the mission is the Sorority's "black arm of superstition" (black arm).
The reader can see the relationship in the "Religion" section of appendix II of the novel "Dune".
Because of the shaping of the myth, the myth is made true.
But is the myth of the former real and credible? We don't know, after all, the entire Dune story has long since become a Bindume narrative, told to the audience by the occasional Princess Irulan in the Muadibu family record.
It may not be true for the sisters, but it is true for Princess Illang. In another sense, having The Voice, Sensing the Truth, Fertility Control, and the Virgin's exclusive ability to inherit memories are all religious acts that repeatedly turn superstitions into facts—and at the same time, a premonition of the future.
<h1 class="pgc-h-arrow-right" data-track="37" > worldly miracles</h1>
What we can see is that Dune recounts the Hegel metaphor in Imagined Communities in a literary way: "Although newspapers were declared obsolete the day after they were printed—and marvellously, one of the first mass-produced commodities so foresaw the nature of the fragility of modern durable goods—it was this extremely invocable character that created an extraordinary mass ritual: for newspapers as novels consumed (imagined) almost every second at the same time." ...... The significance of this mass ritual—newspapers, according to Hegel's observation, as a substitute for the morning prayers of modern people—is paradoxical. It takes place in the silence of the intimate, in the nest under the skull. Yet every participant in the Communion is well aware that the ritual he is performing is being carried out at the same time by thousands (or millions) of others who, though he does not know at all, are convinced of their existence. What's more, the ritual is repeated throughout the calendar at intervals or half-days. What more vivid and secular, historically clocked, imaginary image of community could be conceived than this? At the same time, the reader of the newspaper, seeing that the newspaper exactly like his own was also consumed in the subway, barbershop or neighbors, continued to believe that the imaginary world was rooted in everyday life and was clearly visible. ”[7]
In this metaphor, the reader can see the duality created in the Fehrmann religion. The first is that the "people who can appear in different time and space at the same time" that they worship can be easily achieved in the modern society where television culture is prevalent. The ancient and strange miracle was displayed in front of the audience at IMAX. Second, although the act of reading newspapers has long since left religion and become a secular act, the gene for morning prayer still exists. What about switching newspapers to TV or cell phones?
Such morning prayer rituals have long since ceased to exist, and we are not talking about the death of form, but the change of carrier:
It has long since been replaced by mobile phones, and the ritual of still life folding/unfolding newspapers has been destroyed by the up-and-down brushing of mobile phones; the time for morning prayer has become more flexible, moving from a fixed daily reading time (the time when morning newspapers/evening newspapers/daily newspapers reach readers' hands) to two levels of daily progress (getting up in the morning and before going to bed at night). Not only that, the spatial tailoring of the newspaper's events is in the hands of the editors, who often play each other according to political needs, event importance and layout design, and form them into carriers of the same size and similar information every day (even if a supplement is released, a similar size carrier must be reorganized), this definite spatial layout has achieved the imaginary community in the field of thinking can occupy a place in the abstract space, and the content that the mobile phone can display will increase infinitely in the form of a waterfall, no longer limited by its space. And under the trend of constantly confusing the boundaries of social and news, the decision power of the context has shifted from the editor to the reader, except for the sorting part of the big data algorithm.
Back to Dune. In the era of word of mouth, the increasing number of myths and legends from generation to generation became the faith of the Freymans and a new form of social interaction. The religious mythology that is constantly implanted by the Sisterhood is not fully reflected in this work, but in Paul's dialogue with his mother, Mrs. Jessica, there is a paradoxical paradox.
Paul thinks they are simply driven by ignorance, while Jessica says they are seeking freedom.
I think that since spices can make people predict the future, and the Fairman people in the barren lands are more likely to be instigated than other groups, is this a superstition, or a vague foreknowledge of the future, which makes them more determined to spread the Sisterhood?
Of course, Paul did not consider himself (supposedly) the Chosen Son, either before or after he had the power of complete foreknowledge.
Before he had the power of foreknowledge, when he heard the conversation between his mother and The Virgin, he said indignantly: "This is all part of the plan." ”
This quote marks Paul's anti-heroic qualities. Now many heroic films under the assembly line are full of enthusiasm for individual heroism, they are invincible, they live in fast-paced, high-special effects, fairytale film and television works, but few people will pay attention to the psychological dynamics of a person who can indeed become a chosen child who refuses to be divine.
Having accepted the simple equation of "greater ability, greater responsibility," the reader no longer wonders whether the person responsible really wants to use his or her abilities to change the future. Paul's resistance to the many exercises and experiments of the Sisterhood in him demonstrates a revolt against another ethic: collective heroism.
And after he has the power of foreknowledge, his psychological turmoil is even more affecting the change of the entire galaxy, if he can still use the reason of "ignorance" to avoid the pursuit of essential problems, then where should he go from the perspective of omniscience?
If the core of popular movies is plot-driven and character-driven, and the core of "blockbusters" is spectacle-driven, then the core of classic movies is (
@Mr Poopybutthole
Enquiry driven[8], i.e. asking a central question: Where are we going? Where we point to the evolution or demise of human civilization, which one points to the fall or immortality of the flesh.
Because of the existence of its propositions, it has the problem of abstracting the concept of embodiment, so the science and fantasy in science fiction should lead to more profound psychological changes in the depths of the individual's heart, and the connection between these changes and the wider human civilization. This is the profoundness of Frank, science fiction is not only a novel setting, it should also be a thought experiment[9], the philosophical thought experiment is literal, speculative, non-dramatic, it has both a scene setting far from daily life, and there should also be a person's confusion and struggle throughout the setting. Even if the thought experiment is embodied in film and television, it still retains these serious hardcore qualities, and with the blessing of director Villeneuve's IMAX, it has become a difficult choice for the audience to reflect on with the protagonist rather than grow up smoothly.
Audiences accustomed to a more formal change in the emotional arc certainly have a harder time chewing on the slow scale of the work, preferring the "down the rabbit hole" emotional arc rather than the "Icanos" style. [10] However, if we treat the Sisterhood as a commercial assembly line blockbuster, perhaps the audience has already been domesticated by some kind of deified film expression.
<h1 class="pgc-h-arrow-right" data-track="55"> (ᑌ) Will, Fate, Order</h1>
Uncaused。
“why do we have to go through all of this when it's already been decided？”
“Ceremonial.”
“Use the Voice.”
“Give me the water.”
"Since everything is predestined, why should we go through all this?"
"Because it's a ritual."
"If you want to drink water, use the power of voice control."
"Give me water."
Driven by Paul's voice-controlled power, her mother, Jessica, offered the glass of water.
But if Paul hadn't used the power of voice control, but had asked, wouldn't his mother have given him the glass of water?
<h1 class="pgc-h-arrow-right" data-track="60" > strength and weakness determinism</h1>
This is the typical problem of free will and determinism in philosophical questions (Foreknowledge and Free Will).
If foreknowledge is certain, then the Sorority will surely get a female Paul. Similarly, if foreknowledge is certain, then Paul should be stabbed to death by Jamis, a freeman who is reluctant to accompany him, guided by his precognitive dream, and the next shot Paul is a bloodied hand slowly walking up the dunes, an enlarged delicate, sticky red liquid that looks particularly dense and cold under IMAX.
However, it was after Paul heard James's teaching to him in the foreknowledge picture—not continuously, but as spices continued to enter Paul's body and increase his power, and after paul continued to connect—that Paul's will (here is not the free will discussed above) became firmer, he quickly and decisively ended him in the face of Jamis.
In stark contrast, although the shot of Paul being defeated is fragmentary and static, the audience can still feel the rapid confrontation process. In the real confrontation, the shot of Paul stabbing James to death is casual, as if it is a "natural" thing.
In a short shot of less than 15 seconds, the camera perspective changes in multiple ways, first from The Jamis perspective, then to the perspective of the bystander cutting out of Chani, followed by the concerned perspective of her mother Jessica, then a partial close-up of Paul's vision of the foreknowledge picture (and the cry of the Virgin like a bible), and finally back to Stilgar's spectator perspective, and the battle is over.
So there are at least three places where Paul's dreams of foreseeing the future are not fulfilled, respectively
"1) Paul was defeated in a duel, 2) Chini stabbed Paul with a knife, and 3) appeared in a vision and said that he was going to teach Paul the Freymans". [11]
Paul was indeed "necessary to die" for the Chosen one to be born. This is not only the inevitability of fear as a psychic killer, but also a new revelation of whether the future can be changed again, and how the future can be "viewed".
There is a lack of an e between the Freman and the Freeman, which may refer to the ego or ecclesiastical; for they are superstitious that their future must be saved by the Chosen one to be freed.
<h1 class="pgc-h-arrow-right" data-track="71" > incompatibilities</h1>
Determinism is incompatible with free will, and most of the in-compatibilists adhere to the latter. This issue is discussed in detail in the third chapter of Doing Philosophy, which lists a large number of strange creatures with the power of the former, such as the Laplace Demon, Taylor's Arm, The Newcomb Paradox, and the Black Box.
In the first part of the novel Dune, Paul undergoes multiple changes in this philosophical concept, and at first he does not want to accept the future of the precognitive dream, nor does he want to accept his future as the heir of the family. Later, when the mechanical power unit of the ornithopter was on the verge of being damaged in a sandstorm, he and his mother Jessica chose to become fatalists and let nature take its course — using the power of sand and dust to rise to an altitude of 5,000 meters — to escape.
How can ancient and abstract philosophical concepts be visualized into an image-visual plane that allows the audience to intuitively understand these obscure theories?
This is a mystery in the history of the adaptation of Dune. This is not only true of Dune, but all the adaptations that require the presentation of superintelligence in the visual are difficult to do, such as Minority Report, Superbody/Lucy, Advent, etc., and it seems that only the intertextuality between words can guarantee its reflection effect.
In the visual light and shadow effect with greater density per unit area, the richer the information obtained, that is, the abstract concept transmitted is more easily understood, and only IMAX can accommodate more picture content, when these picture information enters the line of sight, it stays in the brain for a while and becomes an action.
It is worth mentioning that Geoffrey, in the story "The Black Box", describes another way of foreseeing the future, not through Paulian visual images, but through telephone voice. The black box seems to be like a smart device, both accurately predicting the future and having free will, so smart machines start their own rebellion.
<h1 class="pgc-h-arrow-right" data-track="78" > machine's command</h1>
However, humanity succeeded in destroying the mind machine in The Butlerian Jihad, biblically establishing the motto "machine that cannot be used like the human soul" and driving the GateTed as a substitute for it—and the GateTed needed spices to maintain a high speed of computing power, which can not but be said to be a kind of fate drive.
Faced with a predictable future, what should people do to make the future more beneficial to themselves?
How the future may benefit itself, it is simply faithfully recorded, standing in a higher angle than three dimensions. And the true fully foreknowledge of the future—in The Dune Appendix, the navigators of the Astronautics are part of the foreknowledge—will gain wisdom through their own experiences in the future and grow back to the present, not because the future is changed, but because the variables of growth make the future appear and re-observe.
Back in Dune, some characters don't have the ability to predict the future, but they can still predict the future, but they can only walk into such a future anyway, that is, Duke Leto.
It can be said that the fate of Paul's family is quite similar to that of the Oedipus family in ancient Greek mythology.
Creon seized the throne as a brother of kinship and became the de facto ruler in the story of Antigone.
Paul knew that the prophecy was coming without running away, and finally became blind in both eyes and exiled himself.
But as he put it, the people of the Ertridi family did not escape the oracle and the great pressure of predicting the future like the Oedipus family, but bravely moved forward. When Duke Reto received the Emperor's edict, with his political acumen, he knew that his limit was coming, and whether it was the Virgin Mary (the Virgin mary as the emperor's true speaker, even the persuasion of the Haconin family to promise never to kill his wife and daughter), Jessica or Paul, he could only go into this trap, because there was no way to resist.
For details on the nature of predicting the future, please refer to my other answer: Is man's fate arranged? Nearly 30,000 words detail the triangular relationship between the figurative, deterministic, and immediacy of the oracle (foresight of the future). [13]
Is the fate of a person's life really arranged? 38 Approval · 5 Comments answered
When it comes to being unable to resist, there is another important point, that is, the power of voice control.
<h1 class="pgc-h-arrow-right" data-track="91" > the power of the sound control</h1>
The power of voice control is not to predict the future, but to determine the future directly through expression—although it is in a very small space, it can only be one-on-one, and although it is only a command that can be done—in "Movie", it can be done as small as giving water to directly killing the enemy. This sound, which comes from the looping around the skullcap, is not through the air, but through the bones, and can only be felt in the IMAX field.
The power of voice control doesn't look like a programmer giving a computer programming commands? Especially in the world of Dune, intelligent machines even set off a rebellious battle. In The Philosophy of Doing, mentioned earlier in this article, the introduction to chapter 3 directly discusses the relationship between the behavior of the computer and the person who gives the order. Does something that is programmed have free will? If it doesn't have only free behavior, does it know it can't resist? If it is the latter, does it prove that it has free will?
Satoset Maugham said, "There are two good things in our lives – free thought and free action. ”
The companion of free will is accidentality, and in a sense, Paul's birth is the result of chance (free will), but it is also the result of the parenting ability of the mother, Jessica. The Sorority wants to settle its family feuds by marrying the descendants of two families (which looks a lot like Romeo and Juliet), and then the truth is repeatedly against their long-cherished wishes— can we say that the Sorority chapter of Dune Appendix is the one who eliminates free will? On the contrary, the Sorority's breeding program is not to eliminate free will, but to implement free will, who do not believe in determinism or fate, but want to create determinists through the continuous inheritance of past memories and the way of good breeding.
Obviously Paul was such a person.
But Paul's unprecedented ability to foresee the future means that the power he learned, like Advent, came from the future. It is not so much that he changed the future as it was that the future changed him. Princess Ilham, on the other hand, inherited all the memories of the past. If a person really knows all the truth at the same time, it is no longer important whether he is blind in both eyes.
<h1 class="pgc-h-arrow-right" data-track="99" > accidental evolution</h1>
The breeding plan is not so much a wish as a larger voice-controlled force; if it can be executed in the form of commands in the future, the incompatibility between determinism and free will can be solved. In order for the power of sound control to take effect, the use of spices is a must, and spices were originally used to replace intelligent machines and become important things in the development of civilization.
In Dune, Frank neither supports the freedom to predict (and choose the future) nor the freedom of ignorance. The latter view is the view of spencer, who once compared the movement of stones in the air to human behavior, saying that if stones had thoughts, they would think that they were free to be thrown up in the air. [14]
Frank's more supportive view should be that limited makes people more free. The limitations here are reflected in the work as people with some precognitive abilities, whether they are astronautical guilds or sororitys. Because of some foreknowledge, this finitude can be amplified to form an inexhaustible "garden of forked paths", which is the principle of alternative possibilities of Ayer, that is, a person can only be responsible for doing something if he could not have done it. The viewer can see Paul's trials of Gorm's thorn and the box of pain. Insisting on not leaving the pain box is not a choice based on free will, and while Paul also has the heart to put himself through the test of pain, it is more important that the gorm stab has a fatal blow, which is no different from John Locke's trapped talker experiment mentioned in Doing Philosophy.
The metaphor of the Gorm Thorn is condensation under changes in the external environment, while the metaphor of the pain box is the repression of the collective will of the higher. Paul also knew that he had no choice, whether in the face of the box of pain or in the face of his own followers waging jihad in the name of religion.
This principle is also the root of Paul's psychological complexity in the second part of the novel Dune. Yes, knowing that you have no choice is to be deprived of free behavior, but that does not mean that free thought has also lost its usefulness. And free thought runs through the power of foreknowledge the future, and Paul is not a heroic character who is willing to introspect and call for greater morality, but an anti-hero character with higher moral standards and stronger superhuman abilities, but unable to resist the torrent of fate, which in aesthetics has a special title: tragic figure.
This principle is also the root of Paul's psychological complexity in the second part of Dune's novel.
Of course, it is also the philosophical root of the actions of the half-human, half-sandworm god emperor after seeing the future of humanity's eventual demise.
<h1 class="pgc-h-arrow-right" data-track="108" > (ᑎ) sublime, fearful, and beautiful</h1>
Perὶὶpsous。
“But our plans are measured in centuries.”
“capable of reaching 400 metres in length”
"But our plan is on the scale of the century."
"[Sandworms] are 400 meters long."
The myths, religions, and archetypes of the Paul family are actually derived from the aesthetic styles of ancient Greece and Rome, and for ancient Rome, the aesthetic category that can represent their religion is the sublime. And according to the aesthetic cognition of the two ancient periods (that is, Plato's "art is three layers away from truth"), the sublime is an aesthetic style that occupies a higher dimension and is closer to the state of divinity/perfection, which is evident in the thought of Longinus and Plotino.
Grand narratives, epic operas, these genres with distinctly divine qualities are inherently sublime, as is Dune, which is one thing that has been immersed in postmodern culture and whether audiences who have "seen a lot" can see it, and tragedy in the aesthetic sense that is driven by the sublime is another.
The sublime is everywhere in Dune.
The infinite extension of time, as well as the infinite extension of space, forms the sublime beauty unique to the planet Dune.
<h1 class="pgc-h-arrow-right" data-track="115" >What is sublime? </h1>
In his Critique of Judgment, Kant divides it into two categories, the mathematical sublime and the mechanical sublime.
The mathematical sublime refers to the infinity of volume, the rationality of no scale that can be measured, and the senses that are completely unable to adapt. If the volume is not infinitely large enough, the number will be infinite, thus forming the effect of "thinking of the object as a whole". The mechanical sublime refers to the infinite strength of power, the irresistible oppression, and the "object of fear." The human flesh is small before this intense natural power.[15]
It can be said that "Dune", as an epic picture, is a typical grand narrative literature, and its sublime is presented in different ways in the IMAX mirror.
[16] The sublime (at the intersection of aesthetics and science fiction literature) is the BDO (big dumb object) mentioned in the Encyclopedia of Science Fiction. （
@Future Affairs Authority
According to the detailed science of BDO in the non-existent series of the Future Things Administration, it is possible to give a rough feeling about BDO, that is, a non-human manufacturing giant that can evoke human trembling emotions. The so-called sense of trembling is actually the extremely strong oppression of human existence itself created by "big", and the first thing people think of in the face of these things is to be frightened, and to a certain extent, people will forget the reference of the scale. In "Dune", the director projects the BDO into the audience's pupils through three extreme size comparisons, the contrast between "people" (messengers, divisions, protagonists) and aircraft (ring spaceships, astronautical guild spacecraft) -
BDO in Dune: Why the Great Silence Makes Us Shudder mp.weixin.qq.com/s/O4SGL2qGuyFEHOhNEZjhUw
"Are the spacecraft of the Astronautics Guild really big?"
"Yes, it's big, we're going to take a long-range plane ... The long-distance aircraft was so large that its cabin could cram all our escort ships and transport ships into it, and it was used in only a small corner. ”
- and the comparison of equipment and sandworms. The sandworm opened its abyssal mouth, and countless densely arranged spikes easily swallowed the spice collector and then fled into the sand.
<h1 class="pgc-h-arrow-right" data-track="126" > dense and silent</h1>
When the number is small enough, the sublime manifests itself as bdo; when the quantity is sufficient, the sublime manifests itself as dense.
At this point the sublime turned to an aesthetic of evil:
"The myth of hell reflects the monotonous identity of sin through the repetitive principles attributed to it, which is uniformly expressed in the instinctive pursuit of constant outpouring... The punitive character of hell arises through the forced repetition of social life, which is imitated here by the ad infinitum." [17]
When sufficiently large spaces are created through continuous repetition, they are called hell in religious science, that is, the embodiment of evil. And the space is compressed to enough hours, such as the mouth of a sandworm (is it really small enough?). The densely formed phobia syndrome will bring stronger mental and psychological pain.
Dense not only the mouth of sandworms, but also monotonous repetitive populations.
The dunes are the endless sublime of the natural environment, the calm sand dunes overflow the human vision, making it lose its direction (so it needs a special compass), and the sense of sublimeness brought about by the loss will make people feel small. The rapidly changing sand dunes have evolved into the god of death that devours human life, and in the dune planet, the god of death exists in the form of sandworms.
In the subsequent story, the Divine Emperor, as an individual of the existence of giant sandworms, allows the viewer to not only have a sense of sublimeness, but also a sense of disgust. This can already be seen in the huge fat body of the Duke of Hackenen in the movie.
As an infinitesimal but infinitely large amount of sand piled up in the dunes, while meeting the quantity sufficiently small and the quantity sufficient. On the other hand, the uniformly dressed human army, or Sardaukar, the guardian of the Empire, became another sense of sublimeness.
It is necessary to ensure the creation of a large perception and a small delicate reality, presumably only the "giant screen" + "multi-channel system" of the audience's audiovisual perception of the complete envelopment, in order to conclude an inescapable sense of sublime.
<h1 class="pgc-h-arrow-right" data-track="136" > fear and sublime</h1>
In Dune, Mrs. Jessica repeatedly asks Paul to overcome her fears, in fact, to overcome the strong survival instinct brought about by the aesthetic sublime — escape. Because the sublime has another important property, that is, harmlessness, but to obtain harmless aesthetic images, it is necessary to be able to face it and persist long enough to obtain it - what is important is not the result, but the process.
As a tragic figure, Paul knows the fear of fate tragedy, which Zhu Guangqian said:
A universal emotion evoked by a sudden insight into the power of fate and the nothingness of life. [18]
Such tragic figures, in the current works, are not too many, but too few. It is the feeling of powerlessness and smallness that makes people feel powerless and small from the "overriding power of fate", and a strong sense of sublimeness and fear is born. It is still somewhat different from the sublime, he is an invisible, unclear object, the unknown itself is strongly oppressive, and cold.
It forms an "illusion-frame" rather than an "object-frame", which seems to provide "an imaginary solution to the impasse of reality", i.e., it seems that as long as the sandworms are eliminated, the spices are at their fingertips. （
@Real dog
）
But after this huge sandworm is destroyed, can it really solve all the problems? The narrative style of annihilation is victory, which the audience is already too familiar with, not only familiar, but also domesticated. So when we are forced to face a more important, more scrutinized life, we complain about "why this movie has no climactic plot from the 90th minute". That's because it's been too long, too long to see the human dignity and spiritual freedom of the tragic characters.
"Always permeated with a deep sense of destiny, and then never cowering and decadent; it celebrates hard work and heroic resistance. It precisely depicts the smallness and powerlessness of man, while expressing the greatness and sublimity of man. ”
(Standing on the glass floor of the 339 TV Tower, the author who was too frightened to move was .jpg)
In Burke's aesthetic thought (the first person in the history of Western aesthetics to distinguish between the sublime and the beautiful), "self-preservation" is directly regarded as the basis of the sense of sublimeness. He believed that the idea of self-preservation was caused by pain and danger. Pain and danger are a strong threat to the safety of life, and they are emotionally expressed as the strongest lust, that is, pain, which will cause terror and fear, and this fear and fear is the main psychological content of the sense of sublime.
So Burke said:
"Anything which is in a certain way appropriate to give rise to the idea of suffering or danger, i.e., an object which can be designed in some way frightening to be horrible, or which functions like terror, is a source of the sublime. Only the pain and danger of leaving people for a distance can arouse a sense of sublimeness. If dangers or sufferings are too urgent, they cannot produce any pleasure but are only frightening. ”[20]
Simply put, Burke means that horrors are not necessarily sublime, but non-terrorists are necessarily sublime.
When the distance is far enough, there will be the horror of joy. But because these works have long been fixed in pictures, words or images, the distance is no longer important, and only the viewer needs to survive the time of being shocked by huge things or dense objects. Of course, there are also people who can't survive and thus really get strong lust and shudder, called La sindrome di Stendha, which is both ecstasy and vertigo, hysteria and fear.
Jessica's prayer of fear, which Paul keeps reciting, is based on this aesthetic idea:
I must not be afraid. Fear kills the ability to think, is the lurking grim reaper, and can completely destroy a person. I want to tolerate it, let it pass through my heart, through my body and mind. When all this is over, I will open my eyes to the depths of my soul and examine its trajectory. Fear is like the wind, the wind passes without a trace, but I still stand. [21] @Black Castle
Without looking at this setting, you may have a hard time understanding this space epic (II) religious mp.weixin.qq.com/s/DHzyaY7ZPWzlt6nzABJ5Vw
If we return to Longinus's statement of the sublime, we will find that this prayer is typical of "noble thoughts" over "noble emotions." （
@Garfield Bear
The awakening of humanistic rationality is obtained through self-verbal expression, and then the sensibility of wanting to escape is suppressed by rational drive, although this sensibility will also be sublime. Longinus himself said that music is not as sublime as literature, because literature stimulates psychological cognition in addition to physical cognition.
How to compare the similarities and differences between Kant and Burke in the aesthetic concept of the sublime? 578 Approval · 24 comments answered
<h1 class="pgc-h-arrow-right" data-track="159" > near-death and sublime</h1>
There is also a sense of sublimity that comes from near-death experiences (NDE).
Death encompasses both the concept of infinity and the infinite multiplicity, as well as the concept of infinite pain—the relationship between the sublime and the sense of pain. (Seeing) the dead person will give people a strong deterrent with physical obliteration, participating in (letting others) die will strongly stimulate people's emotional and rational nervous systems, and people who have experienced death can distinguish well in the near-death experience that the sublime will not bring real harm to the aesthetic subject aesthetically, and what is the real harm.
So the sense of death is isolated in art, in art that is not everyday space, non-physical space. Because the artwork is isolated from the real world by a natural medium, the text may not yet be obvious (after all, flipping through the paper will arouse various feelings), but the image can tell the viewer with absolute calmness on a screen (without any pictures after the shutdown) without causing real harm.
In a sense, for human beings, forethought the future is actually the future of foreknowledge death. This is especially true in Dune. In the first part Paul foretold his own death, in the second part he foresaw the demise of his family, and in the second part, leto II foresaw the demise of the entire human world.
In the film, Paul (except himself) kills two kinds of people through his abilities, one is that he sees himself in armor and blood dripping from his hands in his (future) dream, and he slaughters the enemy's holy war; and he drives others to end the lives of others through the sound of seduction.
As long as there is himself in the foreseen future, it means that until that future, he is still alive and has not really happened in the present, which falls into the growth range of the sense of sublimeness, both the reality of death close at hand, and the rationality (the ability to foresee) tells itself that this matter is far away, thus generating the illusion that the future can be changed.
Near-death experiencers have a similar expression during near-death, according to Fredirch Kittler, which is a kind of:
"The experiencers of these accidents are in a state of near-death when they fall from a height or drown, and what they experience is not just terror or panic, but a very peculiar visual phenomenon. At the moment of death, the memories of the past are displayed one by one in front of the eyes of the dying at a very fast speed like a movie. ”[23]
Yes, this seems to be a similar situation for all near-death people, and one scientific explanation is that the hippocampus releases a state of inhibition that preserves memory, stimulating telecommunications activity. More importantly, this kind of "play movie" style, surround stereo memory scene is how the audience feels in IMAX. In the sense of time and space, we can also see that if the person is in the memory of a near-death memory, that is, what if everything he thinks and does is actually a larger, longer memory?
That's who the Sorority is looking for.
< h1 class="pgc-h-arrow-right" data-track="170" > common feeling of cutting</h1>
But what if this feeling can't be shared? Can't it be what Kant calls a common sense?
What has tormented Paul and the Divine Emperor all along is the ultimate loneliness that cannot be shared.
In the last few days, Paul chose to let the ignorant change the future (that is, Princess Ilham made it impossible for Chini to conceive, in effect postponing Chini's death), and the Divine Emperor chose to fight against the future of humanity's inevitable demise.
According to Rachel Nuwer, these are just two ways to face the foreseeable deaths.
The former will be "obsessed with how to survive." If he knew he was going to drown, he would try to practice swimming; if he knew he would die in a traffic accident, he would avoid the vehicle at all costs.
The latter is "obsessed with how to control" They will choose to die in their own way to prove that the prophecy is not true. Drowning and traffic accidents are painful, but what if euthanasia could be achieved the day before it arrived? [24]
But either way, it's the people who really see the sublime.
【Hans Zimmer】Official Soundtrack Collection of the Movie "Dune" Hall Music!! _Bilibili_bilibiliwww.bilibili.com/video/av542475957/
This is also the reason why breaking the fourth wall can bring about a serious sense of psychological fear. The film certainly can't really break the fourth wall, but it can create a sense of immersion, enveloping people's perceptions through IMAX's audiovisual effects—especially what Burke calls "the loud noise or silence of the sound," which is evident in Dune's soundtrack, a tense piece of music that seems to be rising but constantly repeating.
<h1 class="pgc-h-arrow-right" data-track="179" > (ᕮ) intertextual science fiction poetry</h1>
Ecology。
“For the Freman, spice is the scared hallucinogen. Which preserves life and brings enormous health benefits.”
“For the Imperium, the spice is used by the navigators of the Spacing Guild to find safe paths between the stars.”
"For the Freymans, spices (enamel) were sacred hallucinogens. It can prolong life and unite spirits. ”
"For the Empire, spices are used by the navigators of the Space Guild to find a safe path between the stars. Without it, interstellar voyages are nothing more than nonsense. ”
Before Frank Herbert, science fiction was more about hard science fiction, that is, the description of science fiction techniques and the surrounding environment, a tradition derived from the great geographical discoveries of the 15th and 17th centuries, the most typical of which was St. Thomas Mohr. Thomas More) in Utopia in 1516. The description of the unknown place in "Utopia" is also the style of hard science fiction works, that is, an encyclopedic introduction to enclaves through travelogues, introductions, retrospectives, dreams, etc., but the introduction of hard science fiction is not space, but technology.
<h1 class="pgc-h-arrow-right" data-track="183" > ecology and science fiction</h1>
This is also true in the early dystopian works, where introductions, explanations, guides, observations, and diaries are the norm, "We" is recorded in a diary, "1984" is more of Winston's reading and what he sees, and the opening three chapters of Brave New World are all about the setting of the future world.
"Dune" injects the power of literature into science fiction, technical depictions are deliberately ignored, character fullness and plot richness are re-mentioned, social construction and operation mechanisms, and the coexistence and change of multiple creatures under the political system are repeatedly mentioned. The philosophy, psychology and other humanities and social sciences that Herbert learned during his upbringing continued to infiltrate his dune world.
More importantly, the operation of the macro world is becoming more and more microscopic.
<h1 class="pgc-h-arrow-right" data-track="187" > intertextual: overlapping</h1>
The microscopy mentioned here is not just a deliberate attempt to avoid the extension of larger scenes, but to focus on the description of smaller spaces and to peek at the leopard through strong intertextuality. Since Herbert studied Zen thought, we can see traces of typical Chinese narratology in Dune, namely the importance of intratextuality beyond extratextuality.
Intertextuality, that is, the relationship between different units of text within the same text, is the study of how different units of text are organized into a single text.[25] Through his study of Chinese narratives, the sinologist Pu Andy found that the focus of Chinese narrative literature is "habitually focused either on the overlapping of events, or on the interstitial space between events, or on the 'non-events.'" ”[26]
This is evident in Dune. Although there are also introductions to heterotopias in the film, from miniature e-books donated by Dr. Yue, most of them are through the continuous development of the characters in the process of advancing the plot, placing the reader's understanding of the other world as a priori point of view - that is, the dailyization of the unfamiliar future world. Everyday life in these other worlds, the need to do seem to be natural big information to accommodate, IMAX screen and traditional film technology, can add at least 26% of visual content, is the only choice for heterotopia visual extension.
In a seemingly highly developed future world, in the dune world with a large number of BDOs as spaceships, the war scene is a cold weapon hand-to-hand combat with shields (Shield), which seems to be a discordant visual experience, but it is an excellent embodiment of macroscopic microscopy.
Director Villeneuve inserted the content of the first part of "Dune" into the film, but still used a lot of empty shots to shock the audience to expand the way of life in this other world. Chinese aesthetics call it blank space, and it is often used in Chinese literature, which is called that mill and care. This is rooted in the basic philosophical ideas of Chinese culture that began with the Zhou Yi, the Tao, which is known to Pu Andy as complementary bipolarity and multiple periodicity.
(I have used this theory to analyze the film "No Year Without Going" released in 2021, which was published in Film Review, No. 8, 2021, entitled "Fractals, Superpositions, and Gaps: < The Year Without Going Away> Interpretation of Spatial Narrative Aesthetics")
This is known in Western literature as Multifractal or long-range, i.e., through "a certain degree of self-similarity, that is, the harmony of each small part of the work as a complex network system after it is extended and coordinated with the structure of the whole".
<h1 class="pgc-h-arrow-right" data-track="195" >text: phase dye</h1>
The intertextuality is quite clearly reflected in the novel. Alternating different genres to express the transformation of time and space tenses, there are notes from the distant Princess Ilham, Paul's growth history, rumors and myths passed down by word of mouth, and as nested spaces in space, the visual re-reading of the Orange God Bible. And this can only be presented in literature, such as the references at the bottom of this article, which form an intertextual relationship with the main text.
How do I convert unary (text) to binary (image) through montage clips? We needed to look to higher-dimensional imaging technologies for support, and IMAX was the only choice.
Dune became a certain paradigm of science fiction literature, and latecomers continued to innovate in its setting. When you first watch "Dune", there will be "Avatar", that is, the visual sense, but in fact, whether it is the plot arrangement of "Avatar", the lightsaber setting in "Star Wars", and the setting tone of the foreign horror creatures in "Alien", all come from the film.
The microscopic here is also the fundamental existence of the elixir of life as the silver bullet. To say that it is a silver bullet is actually the same as the alchemical "Magnum Opus" and the legendary "Philosoher's Stone"[29]. The essence of life is set in "Dune", of course, is a spice, and it has become the most important thing in the whole dune story - the fuel for the astronautics to travel, the psychotropic drugs of the sorority to control others, and the noble symbol of luxury in the royal family. Although it is also a competition for it, the role of this key prop is no longer as a virtual symbol of extreme glory, but as an entity for the normal functioning of society. If we compare it with the ring in the masterpiece of fantasy literature, The Lord of the Rings, and the Horcrux in Harry Potter, we can see the difference very well.
Many of its subsequent works borrowed from this way of writing, especially the Force in Star Wars and the energy crystals in Transformers. The way in which the whole world is driven by core dynamics originates from Plotinus's overflowing theory, which is also projected onto his view of good and evil, which holds that good is the oneness and evil is the imperfection of good. Readers should find that if it is only the core power that provides energy to the world, it is a fantasy world; but if it is the core power that provides the world with operation, it is soft science fiction.
What are the core dynamics of the real world in which we live? Or is the spice in Dune what is the real world?
The most common answer is, oil. But it's not just that.
Strictly speaking, spices are petroleum + hallucinogens + internet. Spices and these things have an inextricable intertextual relationship, and furthermore, it can be called an ecological relationship.
<h1 class="pgc-h-arrow-right" data-track="204" > metaphor for spices</h1>
Oil is the metaphor of the most superficial layer, oil drives the high-speed development of human internet of things, oil can also be said to be the "corpse" of the land. The powerful hallucinogenic effect of the spice itself is inseparable from the functioning of religion. The relationship between religion and hallucinogenic drugs can be said to be twins, and it is also the original appearance of the fantasy world.
The Internet, on the other hand, can make people appear in different time and space at the same time and space faster, which can be called the chosen son of the Freymans.
In Nozick's pleasure machine, this kind of thought experiment takes over the theme of "I think, therefore I am" with its obvious hallucinogenic properties. Frank's Dune series also fueled the development of online games, and in 1992, as the progenitor of real-time strategy games, the game of the same name, which borrowed from Dune's game Cryo Interactive, came into being. Individuals are also able to participate in a map journey through the heterotopia world in an interactive rather than immersive way.
Hallucinogens, and the mysticism behind them, should be the true metaphor for spices. This is a far cry from the Force and the Energy Crystal. Man does not generate fetishism about oil, but he does fetishism on eternity.
<h1 class="pgc-h-arrow-right" data-track="209" > religious hallucinogen</h1>
The concept of religious hallucinogen (entheogen) was coined in 1979 by anthropologists and mythologists,[31] in place of hallucinogen (hallucinogen) and psychedelic (hallucinogen), which can refer to all hallucinogens used in the religious or spiritual sphere. The word is taken from two ancient Greek words "ἔνθεος" (entheos) and "γενέσθαι" (genesthai). The former means "inspired, enchanted", the English root of "enthusiasm", and the latter means "formation". Religious hallucinogens are generally natural plants/minerals that can cause hallucinations in humans and have been used for thousands of years in various rituals. With the help of psychological cues and the effects of hallucinogens on the nervous system, the user obtains the psychological experience of being with God and communicating with God[33].
Ivorians use psychedelic mushrooms, and Chinese Taoists use cannabis to induce theosophy, and mercury poisoning or arsenic poisoning caused by taking dansha can also produce theosophical hallucinations.[34] The Bwiti people of Africa used the root bark of tabernanthe iboga, an oleander family, as a raw material for religious hallucinogens. The use of blue water lilies and psilocybin mushrooms has also been recorded in Egypt. In Chinese herbal medicine, mandala is used to relieve asthma symptoms and as an analgesic in surgery or bone elderberry, and in Hinduism, mandala flowers (Datura stramonium) and cannabis are often used in religious ceremonies and can easily become severely poisoned due to their excessive potency. The main ingredient of mandala is scopolamine, which has an anesthetic effect, it makes the muscles loose and inhibits the secretion of sweat glands, so the ancients named the anesthetic made by this flower "Monghan medicine". The chapter on Bushrooms and Religion in Robert Graves' book Difficult Questions, Easy Answers also discusses the role of psychedelic mushrooms in early religious practices in ancient Greece, India, North America, Northern Europe, and other regions.
This miraculous epiphany, which William James called conversion—is at the heart of many religious and meditative traditions, and when it occurs in a more general setting, it is called quantum change by psychologists.
Spices have something to say.
Neuroscientists have found similarities between meditators' brains and brains affected by hallucinogens, and Albert Hofmann, the first Swiss scientist to synthesize LSD, hopes that the drugs he created will be scientifically studied, hoping that their therapeutic potential will be rigorously tested. He also had a mysterious experience after taking the drug. He once said that LSD is "the soul of the drug that makes us what we should be, a pathway to transformation."
Hallucinogen drugs can reach the theosophical religious theology, which often plays a very important role in primitive religions, and what modern technology can do is to reconstruct these ancient animal and plant prototyps in a higher purity way, enhance the efficacy of hallucinogens, and be used as silver bullets.
The kaleidoscopic picture that appears at the end of Dune is exactly what people see after taking the hallucinogenic mushroom, and with the empty soundtrack by Hans Zimmer, it reverberates in the air of IMAX, and has a sense of echo: mysterious, low, imminent, and extinct. When a person closes his eyes and presses his eyelids with his fingers, a similar picture will appear in front of his eyes.
Huxley's early attitude toward hallucinogens was extremely resistant, and he made a negative evaluation in Brave New World. But he soon punched in the face, and after taking LSD, he had a blissful experience, writing the hippie Bible The Gate of Wonder and another utopian novel, The Island.
<h1 class="pgc-h-arrow-right" data-track="218" > nested space</h1>
It is easy for literature to create more intertextual and nested spaces in the text. But it is not so easy for the visual, dragon knight 07 created the "Time when the sea cat cries", there are seven layers of narrative space in detail, although this is a visual novel, but also more emphasis on the novel. The animation works adapted into adaptations are not satisfactory when extending the narrative space.
Back to the adaptation of "Dune", in addition to the well-known plot adaptation, the director must place multiple texts on the same visual plane Is also very difficult, the picture undertaking, the sound effect of the cracking need to be careful, more importantly, the film technology should be developed enough, so as not to commit the "Dune" film adaptation of the film joke, that is, the shield opened after the formation of the rectangular block - I heard that this later became the creative source of "Minecraft", "Dune" is really "the source of all evil".
After Dune, the setting of the abandoned smart computer was picked up by Gibson, and the cyberspace quickly became hallucinogenic. Computer critic John Perry Barlow, the first user of cyberspace, saw it as a "psychedelic experiment" during its setup (Barrow himself was a convert of digital technology, a long-time practitioner of mysticism and LSD). In the 1980s, cyberspace, synonymous with Virtual Reality technology, was used as a quintessential hallucinogen on a large scale, sharing the same utopian imagination: escaping the shackles of the body. Mondo 2000, the most famous related publication of the time, also quickly became "the perfect blend of psychedelics, cybernetics, culture, literature, and art".
Gamification itself is also gradually hallucinogenic. Adam Alter compares the similarities between game hallucinogenicity and addictive addiction, the only difference being that the former is a more group syndrome, similar in both unpredictable immediate feedback and visually visible progress.
IMAX is the representative of the hallucination of the non-networked cyberspace.
<h1 class="pgc-h-arrow-right" data-track="224">to ĕ¦De ā</h1>
“this is only the beginning”
This is just the beginning, as Chine says at the end of the story.
In addition, in the text structure interaction, Frank also set more intertextuality, and in the way of literary inter-dyeing of the dune story to expand more details, that is, the original book of "Dune" attached to the four appendix articles, respectively from the dune ecology, religious system, sisterhood and aristocratic development of the four aspects of combing comb, the specific content can be read in English original book, here need to pay attention to, is the written structure of these four articles.
<h1 class="pgc-h-arrow-right" data-track="227" > Appendix: Ecology</h1>
The first article is Ecology. The story of the father and daughter from ecologist Padot Keynes. Although it is a story, in the process of unfolding the text, there are still a large number of non-literary texts, such as Keynes's speech, the proverb of the Sorority, and the notepad of Princess Ilham. It should be noted that the princess has had memories of all the women before her since she was born. That is to say, at least formally, ecology exists in two tenses.
Ecology follows a highly similar formulation to utopian literature, but this time the narrator is not a bystander or a curiosity hunter from a foreign country, but a scientist who is actively involved in and transforming the ecology of the planet. As the first ecological science fiction novel, Dune also established a new principle for foreign lands: be a tourist, not a traveler. [40]
Not to become indigenous, but to become the subject of the transformation of the community. So Dr. Keynes, who seems to have nothing to do with politics, changed the political ecology of the entire empire step by step through the environmental transformation of the dune planet, although the article only talks about the ecology of the dune planet.
<h1 class="pgc-h-arrow-right" data-track="231" > Appendix: Religion</h1>
The second part is "Religion". A standard investigative reportage in which there is no protagonist, but a lot of text interaction. Baudrillard speaks again in Copy and Infinity of what he sees as the proposition of originality and facsimile, the latter of which is constantly devouring the former, a screen in a centrifugal dimension that unites the lens with the object and transforms human vision into the dehumanized vision of the machine. As mentioned earlier, IMAX is a typical representative of this, and it can be said that it is more typical than the computer display.
But back in a modern society where word of mouth and paper are the main mediums, we can still see how those "amazing consistencies" were formed, and this is the credit of the Sorority's roots in the dune planet.
It is also incorrect to say that there is no protagonist at all. The whole history of religious change, that is, the history of personal thought changes before and after Paul became emperor, began with his acquiescence and the Second Holy War, which was different from Butler's Holy War, but he himself did not want to be like the Sorority, so the whole person fell into the extreme of religious pulling and reflection.
Paul's constant prayers against fear as he grows up appear in the film, and are also the words of the sisters who will temper their nerves after receiving the spice blend of the highly sensitive members of the spirit.
<h1 class="pgc-h-arrow-right" data-track="236" > Appendix: Sororities</h1>
The third part is "The Sisterhood". The style changed again, and it was Mrs. Jessica's comprehensive report on the sororities as a reader. The author claims that this article is excerpted from the report, not to mention that the author herself is an all-knowing person, and the existence of the princess as an all-knowing person gives the reader a better glimpse into how the sisters will manipulate politics that are not unfolded in the film.
But even the continuous cultivation of pure-blooded offspring through breeding programs—which is completely different from what "Stupid Evolution" and "A Thousand Guns" describe, after all, the genetic editing of the body's offspring requires the help of intelligent machines-cannot predict Jessica's love for the Duke.
But in this comprehensive report, the strong effect of spices on the entire universe, especially the role of foreknowledge, is reinforced. In the final analysis, all the talk of improving mental strength and speed of navigation is hidden in the ability to predict. This also proves once again that the metaphor of spices is not oil, but hallucinogens and supernatural forces. The future of humanity is not Paul, but superintelligence. (@Panshin) is documented from The End of Childhood to Solaris Star, which combines mysticism and futurism, abandoning the scientific Promethean future of humanity. [41]
<h1 class="pgc-h-arrow-right" data-track="240" > Appendix: Nobility</h1>
The fourth part is the Genealogy of The Nobility. The author presents a dictionary-like table introduction to the reader. This character list is supposed to appear at the front of the book, but is attached to the back. From the genealogy of the nobility, the reader can outline the historical trajectory of certain characters, but this may be the future that the Sorority has long known about 2,000 years ago.
With an immersive movie-going experience, IMAX did its best to showcase dune's entire ecosystem. In the sense of aesthetics, this is not only the aesthetic subject's contemplation of the aesthetic object, but also the envelopment of the aesthetic object on the aesthetic subject. When the image ends and your eyes are focused on the changing hallucinogenic kaleidoscope at the end of the film, what comes to mind?
< h1 class="pgc-h-arrow-right" data-track="244" > reference</h1>
^[f] Jean Baudrillard. "Transparency of Evil". Northwestern University Press.2019:p20.
^There are a lot of Easter eggs in this place, which is more hardcore
^DUNE WIKI. Kwisatz Haderach. https://dune.fandom.com/wiki/Kwisatz_Haderach
^Yu Zhejun. Future Anxiety and Historical Awareness. Book City Magazine, February 2020 issue https://mp.weixin.qq.com/s/4SjUj7OiUmA0x9kxCDGOQQ
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^DUNE WIKI. Well Gesserit. https://dune.fandom.com/wiki/Bene_Gesserit
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