10 April

Unacknowledged Virtue of The Last Unicorn: 2 The Background of Japanese Subculture and Traits of Monism in The Last Unicorn concluded

Eventually, the magic in The Last Unicorn embodies the essence of art, dynamically engaging with the mind, and becoming part of a vast web of interconnected structures through fiction, allowing for contemplation of the Fundamental awareness and the universe. This is the ideal form of hobby, culture, amusement, thought, and information transmission that should have been the original responsibility of the now corrupt “learning” and “science.” (note)

note:
This is one of the conclusions chosen in the final chapter of the author’s study of The Last Unicorn, “Supernatural System Theory and Antifantasy: Space-Time Equivalence Principle and Persona Shifts”, included in Fantasy as Antifantasy 2. This description applies Susan Strehl’s art theory focused on actualism, to the evaluation of the fictional phase of fantasy literature.
CF. https://www.academia.edu/93965563/Fantasy_as_Antifantasy_2_8_Supernatural_System_Theory_and_Antifantasy_Space_Time_Equivalence_Principle_and_Persona_Shifts


The power of intuition which is able to gain raw information from the Omnium state is depicted covertly in the Japanese anime Madlax, for example. An interesting scene that seems to tell the process by which consciousness generates phenomena through individual construction of meanings was developed in this speculative anime. Although Madlax deliberately avoids referring to any particular ideological or religious association, the closest solution to our current knowledge comes from Jungian psychology and a New Science idea called Post Quantum Mechanics (PQM), which focuses on the functioning of consciousness. (note)

note:
Regarding the relationship between the idea of cosmology premised on the involvement of consciousness and the teleological psychological functions recognized in the creation of a fictional world, suggested by the knowledge of Post Quantum Mechanics, examined in contrast with the premise of scientific thought, see “Dislocation of Genre Concepts in Madlax: Fictional Perspectives and Hyper Natural Directing Method 2”; Journal of Wayo Women's University English Literature Society, (2018).
https://www.academia.edu/41461118/Dislocation_of_Genre_Concepts_in_Madlax_2_translated


It is performed as an attempt to re-understand the meaning of “consciousness” and “intuition” involved in the manifestation of events in the cosmic structure of wholeness in the overlapping part of scientific knowledge obtained by quantum mechanics and magical ideas inherited from ancient thought such as alchemy. According to this, the conviction of the subject of consciousness generates meanings, and matter, phenomenon and personality/deity establish the spiritual essence as meaningful existence. And the world continues to construct its whole picture as a meaningful story to be intuited by the subject of consciousness.


The process would be described inversely as the cause of generative development that the universe inherently possesses. (note)

note:
Jack Sarfatti’s cosmology based on the assertion of “retrocausality,” which assumes that there are factors for the generation of events that are brought about from the future to the past, is a typical example of this. He presents a metaphysical comprehensive cosmology that elucidates the causes and purposes of the universe brought about by the will of future intelligent life, with an integrated vision that governs the mystical knowledge of Kabbalah and the Renaissance transcendental philosophy, together with quantum mechanics.
In terms of post-quantum mechanics, this metaphysical idea, which aims to grasp the mechanism of evolution by acknowledging the intrinsic “destiny wave” factor in contrast to the “history wave” exerted by the chain of mechanical causal relationships from the past, could be a plausible hypothesis that elucidates the “Providence” of Eastern thought from a systems theoretical perspective as alternative solution. Ref. Sarfatti; Beyond Bohm-Vigier Quantum Mechanics, January1998, DOI: 10.1007/978-94-017-0990-3_48
His innovative assertion of an integrated re-understanding of supernatural phenomena such as revelation and precognition, through the effects of entanglement resulting from the structure of the non-locality of the universe, including the connection between the existence of free will and causality, suggests the possibility of a revolutionary shift in the theory of time, sharing basis with David Bohm’s “implicate order” and Bergson’s “Elan vital”.
According to Jack Sarfatti, Jung’s synchronicity can also be understood in the context of “quantum linkage operations brought about by future evolved intelligences, as John Riley described in the expression ‘cosmic contingency domination.’” This is a hypothesis that can also encompass concepts such as Socrates’ daimonion, leading to the prospects for the construction of an integrative cosmology newly suggested by the study of consciousness.

Cf. Part of my new physics message is that synchronicity can be an effect of contact with advanced intelligence able to manipulate the quantum connection in what John Lilly called “cosmic coincidence control.” Jack Sarfatti; Literary and Scientific Essays by and about Jack Sarfatti (https://www.academia.edu/37365216/Literary_and_Scientific_Essays_by_and_about_Jack_Sarfatti)


The situation of “self-disruption,” in which the subject of consciousness loses its distinction from others, is a typical mental pathology according to scientific formulae, but under a particular cosmological interpretation it is also regarded as the evolution of the psyche to a higher stage, breaking free from the constraints of the phenomenal world. In the animated film Neon Genesis Evangelion, directed by Hideaki Anno, the “AT Field” that is able to neutralize all kinds of attacks the “apostles” possessed, who came to destroy the world, is actually no other than the mental function of separating oneself from others. The mental barrier of fear of others was the “absolute terror field.” The ability of the universal humanoid weapon Evangelion to erode the apostles’ barriers using its AT field has the potential to neutralize all discretion and reorganize the entire universe to its primordial state. In Neon Genesis Evangelion The Movie: Air / Magokoro wo Kimi ni, this highly conceptual theme was expressed by projecting the audience watching the movie on the screen in the ending scene, implying the existence of a psychic integration field where the distinction between what is seeing and what is being seen has been lost. This is one of the skillful forms of visual expression that reflects the idea of “monism.”
Many anime and video games that represent the subcultural movement, share intimate connection with Peter and Wendy and The Last Unicorn, in their innocent playfulness and infantile sensibility that immerses themselves in the sense of "moe", in addition to the metaphysical thematic intertwining with the archetypal concepts of quantum mechanics and Jungian psyche. The direct heir to the creative philosophy that gave birth to Peter and Wendy is the Japanese subculture, and the acceptance of otaku culture, which is the essence of it, seems to be gaining momentum for a new evaluation of The Last Unicorn in the United States.

Revisiting from this perspective, the Red Bull, the most ambiguous and enigmatic being in The Last Unicorn, is a brilliant achievement of the innovative mythological modeling by a modern artist Peter S. Beagle, as well as the result of an attempt to describe the most fundamental and primitive representation of manifestation modes. The rambling description on the relationship between King Haggard and the Red Bull represents the permutation of all kinds of variations of the reversal of subject and object, which are the ultimate antitheses and must therefore maintain a solid identity in the far ends of extension. For example, the unreliable information about the Red Bull given to Schmendrick by the guards of King Haggard, speaks precisely in its contradictions and semantic uncertainty, the full breadth of the matrix expansion domain of complementary existences, implying the fragmentation of the ego and the polarization generation that initiates the generation process from archetypal modality. (note)

note:
For the omnidirectional parallel notation of the relationship between the villainous King Haggard and his attendant the Red Bull, see “The Avaricious Stoicist of A Barren Kingdom: Hookian Antihero and Deified Ignorance”, which is included in the author’s study of fantasy literature; Fantasy as Antifantasy.
CF. https://www.academia.edu/96309055/Fantasy_as_Antifantasy_12_The_Avaricious_Stoicist_of_A_Barren_Kingdom_Hookian_Anti_hero_and_Deified_Ignorance


The fourth man, who was the youngest, leaned toward Molly Grue, his pink, wet eyes suddenly eager. He said, “The Red Bull is a demon, and its reckoning for attending Haggard will one day be Haggard himself.” Another man interrupted him, insisting that the clearest evidence showed that the Bull was King Haggard’s enchanted slave, and would be until it broke the bewitchment that held it and destroyed its former lord.


And also, in terms of the uncertainty of information conveyed to the unicorn who sets out to solve the mystery of the disappearance of her fellows from the world, so is the information given by the inefficient but strangely knowledgeable wizard Schmendrick, who will accompany the unicorn on her quest and become deeply involved in her fate. There is no doubt that it certainly depicts King Haggard’s relationship with the Red Bull, precisely because it is a bundle of fragmented information that continues to deny each other and diffuses without connecting the whole picture.

“As for the Red Bull, I know less than I have heard, for I have heard too many tales and each argues with another. The Bull is real, the Bull is a ghost, the Bull is Haggard himself when the sun goes down. The Bull was in the land before Haggard, or it came with him, and saves him. It protects him from raids and revolutions, and saves him the expense of arming his men. It keeps him a prisoner in his own castle. It is the devil, to whom Haggard has sold his soul. It is the thing he sold his soul to possess. The Bull belongs to Haggard. Haggard belongs to the Bull."


In a world where no one has a lucid eye to see unicorns, the Red Bull is the only one who can choose to hunt unicorns, and who is perfectly blind and never have any thirst for the sublime that unicorns embody. The congested, ambiguous and inexplicable relationship between the enigmatic monster Red Bull and the symbolic villain King Haggard, reflects the subtle merging and separating situations of the immediacy of the main body and its shadow, through the principle of superposition synchronized with fluctuations, comprehensively manifesting the union and separation phases, through uncertainty principle. This is another form of protoplasmic description of the cosmos that can be posited complementary to the many-worlds interpretation presented by Hugh Everett III. (note)

note:
While Hugh Everett’s Many Worlds Theory presupposes exhaustive divergence of all constituent units of the universe following the lapse of time, another formula may be presented in a timeless primordial phase where all the possible modes coexist in the state of latency. I have been in search of an appropriate term to represent this archetypal phase, and found it in the comprehensive argument on cosmology and consciousness presented by Sky O A Darmos. According to Sky Darmos, it is called by the name of “Omnium.” Though his own theory was presented under the name “Similar Worlds Theory”, based on the idea of “Space Particle Dualism,” I found the nomination “Omnium” describes best my own image of the fundamental implication of the relationship between existence and meaning, that consciousness is supposed to be able to make access, which is rather difficult to imagine in the platform of Many Worlds Theory.
CF. Sky O A Darmos: Quantum Gravity, Cosmology and Consciousness, ISBN:9798832622002

Sky Darmos’ talk on You Tube affords good introduction to his comprehensive argument on the implication of consciousness and gravity in the structure of recurring universes.
https://www.youtube.com/watch?v=_LDs72OO1zI

In Peter and Wendy, the ideological problem of events occurring in Neverland that deviates from the norms of scientific law was skillfully camouflaged behind the fictional device of narrator’s storytelling. However, the description of non-existence is emphasized even more positively in The Last Unicorn as a way to highlight a self-reflective awareness of the description of the modalities of beings. This fantasy is actually a wayward conceptual novel subtly disguised as an innocent fairytale. The speculative fictional meaning construction axis woven into the folds of the description cannot be easily transfigured in a visual description.
That is why, when I learned that an anime adaptation of the novel had been made in 1982, I had no expectations for its success. I could only anticipate the hopeless errors and tragic failures that often occur when a good literary work is made into a film.
However, this premonition is betrayed spectacularly with an unexpected discovery. A skillful transformation of the metaphysical ideological subject of the original work was achieved as a unique visual expression. The anime The Last Unicorn was a controversial work that required a reconsideration of the hidden “identity” between the original and derivative works. It reminds us of the case of the director Akiyuki Shinbo’s tour de force, in making a successful anime out of the conversation drama full of ideological play in which Nishio Ishin, the original author of the Bakemonogatari, representative work in Monogatari series, wrote in self-reference style, that “it is impossible to make this work into an anime.” In addition, there are some rare cases in this anime where the existence of a miraculous psychic correspondence is suggested between the original author, the American production headquarters and Topcraft studio, which was in charge of the visual part of the anime making. While the original work and the derivative work that has been produced as the film adaptation are fundamentally different things, at the same time, it can be asserted that they have in some way maintain some kind of identity, through logical description of the quantum theory as varied manifestation modes of an existential phase of the universe. (note)

note:
Regarding the demand for re-examination of the concept of “identity” raised out of quantum mechanics interpretation of existential modes, based on the argument on the manifestability conditions, please refer to the following description in “Quantum Logic, Paradox, and Impossible Worlds: Actualism and Antifantasy,” which forms the introductory chapter in Fantasy as Antifantasy 2: A Study of Peter S. Beagle’s The Last Unicorn.

The identity manifested in substance, attribute, and form is supposed to be converted to any other aspect of dimensional frame, by adding the operation of topological transformation. It is suggested that the principle that should sharply separate “similarity” and “identity” is lost in the structure of primordial phase, where not only positional coordinates but also the basic axes of semantic coordinates that define existence, attributes, and relationships, and the values of each variable are arbitrarily transformed into others in spontaneous fluctuation.
What is particularly suggestive for our argument trying to reexamine the correlation between fantasy and fiction, rests in Oide’s statement below, who has developed the argument on the system structure of logic focused on the deeply problematic concept of “paradox”. Oide asserts, from the strict standpoint of system model theory.

... “many-worlds interpretation”, the novel cosmology that acknowledges the existence of an infinite number of parallel universes, adopted in the ontological and phenomenological descriptions of the quantum, must be the most plausible model of quantum logic.


Here, “identity” is not limited to strict one-to-one correspondence, but its essential significance must be understood in a loose corresponding relationship in which “one-to-many” relation must be considered.
It is necessary for us once again to gain insight into the unknown connotation in meaning and existence, not only of things that are manifested throughout many worlds that are conceived as parallel universes being generated by branching exhaustively, corresponding to all permutational combinations of fluctuation values shown by individual quanta, but also of the relation of trans-universal “identity” or “individuality”.

Applying this idea to the concept of individuality, the author examined the ontological phase of the fictional personality of “Hatsune Miku” in matrix representation, in light of various differing personality manifestations, which forms the introductory chapter, titled “Figure, Fiction and Identity: Ceci n’est pas une figurine”, of the study, Existence, Phenomenon, and Personality: Anime, Games, Figurines, and Personality Identity, Bokka-sha, (2014).


Re-examining the production process that led to the completion of the animated film The Last Unicorn as a derivative work through various materials, we find an interesting axis of consideration that allows us to think about the metaphysical idea of existential identity of the fictional works and the effect of the “synchronicity” caused out of the Omnium phase as the interrelation between psychiatric effects and phenomena generation.