In regard to the great battle of Freemasonic Cubism vs. Gnostic Spherical Fullness, I am stuck in the middle. This article does not endorse an affiliation with either school of thought.
French Kubrick researcher and friend Lucas Premier asked me if I could clarify details regarding Kubrick's alleged subscription to the delightfully subversive Fidelio Magazine, published and edited by American political firebrand Lyndon Larouche, and from which it has been deduced is the origin of the password of Fidelio, from Eyes Wide Shut. Lucas also called out the Lyndon from Barry Lyndon, a big pointer I missed somehow.
Well, the differing perspectives of Kubrick vs. Larouche are revealing, so as a response to Lucas Premier, I will give this riddle another kick at the can.
The main beacon of Fidelio Magazine is the essay called On the Subject of Metaphor. The problem with this impossibly brilliant essay is the selfsame "problem" that appears to plague the artistic pretensions of Kubrick, namely: that the work is difficult. However, and again as with the work of Kubrick, Larouche's On the Subject Metaphor becomes quite easy to crack when one acquires a few keys to the language of the matter. The prize is that when compared to the now well known keys to Kubrick's film design, On the Subject of Metaphor proposes the scintillating possibility that there was some sort of Wizard War taking place between Kubrick and Larouche. What is certain is that the critical ideas of these two renegades are a perfectly balanced and complete diameter, as clear as darkest and oily black vs. pure and crystal white.
For most readers here, the language of Kubrick is a cinch. Optically, Kubrick is a cubist surrealist, obsessed with straight lines, corners, linear trump l'oeil, and a tricky "hidden-symmetry" that works like a kind of 4d origami. Symbolically, the films of Stan are a testament to the Magickal Rituals of Old Free Masonry, Kaballah and a Modern Occult Movement that can be traced back to the pre-Nazi Thule Society, the cross-cultural madness of Crowley, and the Order of the Golden Dawn.
Larouche, for our purpose here, uses certain models of math to lay a foundation that illustrates the diametric opposite of Kubrick's cybernetic chicanery. The math itself is very simple, is based only upon general principle, and unfamiliar terms will be described as they are used, so even if you are not a math geek, you'll get it.
The mathematics of ancient and modern occultism is based upon a principle called Squaring the Circle. Indeed, Squaring the Circle is the utmost pinnacle of Occult and Magickal promises. It is fundamental and critical that this operation is not really Magickal or Mystical or Spiritual, it is strictly Math: a process by which the area of a circle is calculated using only straight edged tools (compass and square), rationally proportionate numbers and quadratic (algebraic) formulas. The 2d process of Squaring the Circle is also executed, in 3d, as Cubing the Sphere, and in 4d, as Timing the Hypershpere.
According to Larouche, the circle can not be squared and the pursuit of squaring the circle is an evil act.
According to Kubrick, the circle may not yet be squared, but we sure as hell ought to try our damnedest to get the job done.
To follow we define the following terms:
2. Rational Number
3. Irrational Number
4. Manifold Infinity
Quadratic is the term used to describe the set theory of algebra, in which matters are balanced on a four-square grid made up of a horizontal and vertical axis, which cross at a point marked zero. Algebraic math uses such a grid, which is correctly called a lattice, to co-ordinate multiple types of data. Engineering, design and navigation are massively dominated by quadratic math. Banking, commerce, measurement and law are completely dominated by quadratic math. The opus of Kubrick, like the Masonic, Kaballistic and Modern Occult ritual of his fixation, is also archly Quadratic.
A Rational Number is a number that is derived from the ratio of of two different integers, where the denominator is not 0. Integers are not fractions or decimals but numbers like 1, 22 or 2016. Therefore a Rational Number, as the product of the ratio of two integers, could be 3, -11, 2/7 or 22/7. When converted to a decimal, all Rational Numbers either terminate, like 1.618, or repeat like 3.142857142857...
Rational Numbers can be used to express curvature. The Rational Number called The Golden Ratio, which produces the Nautilus Spiral and other fractal curves, is the ratio of 1 to 1.618. Because of this ratio, called phi, we can easily see that all Rational Numbers, including those which express curvature, can be derived from the proportion of straight-lined geometrical objects such as the ratio of proportionally identical rectangles of different sizes.
Irrational Number. An Irrational Number is a real number, a number that can be expressed as a quantity, that produces an endless string of modulating digits. Pi is such a number, and it is also the number with the sharpest concern to our inquiry.
Manifold Infinity is the absolute consequence of the Irrational Number. Discovered by mathematician Georg Cantor, Manifold Infinity shows that because of the existence of Irrational Numbers, there are in fact many magnitudes of Infinity.
Plainly and stunningly... Some Infinities Are Larger Than Others!!! For this perfect and irrefutable discovery, Cantor was widely vilified, his career destroyed with malice. The hidden reason for this persecution of Cantor's discovery is as blunt as can be. Cantor's math proves conclusively that the circle can not be squared. Of course, the Mystery Schools already know it too, but they are also aware that widespread knowledge of this fact gives traction to forces counter-intuitive to a plan over 6000 years old.
If you like you can watch this short and very basic video, a TED animation, to get a grasp on just why some infinity is bigger than other infinity. Or you can just trust me.
So what does all of this matter to Kubrick, Larouche, and the infamous Fidelio Magazine? Is there a real connection here?
Well, Larouche's On the Subject of Metaphor makes a mighty and academically proper effort to illustrate the established fact of Manifold Infinity and also strives, by way of a sound logical argument, to educate that the Quadratic Model of thought is used to create an unnecessary and evil system of economy and occult government--a system of slavery and empirical dominance. He avers that the United Nations controlled World educational system, with its preference for occult cybernetics, social history and algebra is a deliberate method to stunt the young mind from the knowledge of a single and very simple truth.
Like Pythagoras before him, Larouche believes that certain principles of pure math are a key or a pathway to a Higher Spiritual Principle, which, if widely known, would have an an instant power to bring peace and an end to forced social suffering. For Larouche, this "power" is not an emblem of past human accomplishment, or the willful manifest of any human destiny or gradually increased wisdom. Rather, it clarifies some basic principles established by the Creator, who is the One God and also the Salvation of Human Kind. Larouche is a Christian. All of his knowledge and hope of salvation come from a source outside of himself and outside the mightiest effort of humankind.
On the other hand, there is Stanley Kubrick, who interprets the myth of Icarus not as the classical warning against arrogance, or even as a cryptic challenge to fling oneself into the abyss, but rather, in his own way, as a reminder that the human will to succeed and become like God must be constantly refined. Will must be perfected by the man himself. We must each of us learn to "build better wings".
As a model of Promethean apostasy, Kubrick is a Satanist--the oxbow of creation, that insists on doing it his own way for the express purpose of showing that he is every bit as capable as his Creator. Of course, like a good devil must, Kubrick invites all of us to try and follow his Path of Glory.
It is also interesting to note the two men's names. Kubrick implies Cube and Larouche, by way of the French La Roue, becomes the wheel and therefore the Circle and the Sphere. I remind that this circle is not the squared circle of Freemasonic and Social Occult Mystery, which suggests the so-called Wheel of Fortune and the four compass directions, but rather the Supreme and Unmeasurable Hypershpere of Highest Manifold Infinity.
So, on the one side of the board, playing White, is Larouche, and the other, at Black, is Kubrick. The better chess players prefer Black every time, because the need for perfect calculation is so much a greater challenge playing as Black.
I can not discern a good guy or a bad guy... it all seems so stony and unyielding to me, but one thing is for sure, Kubrick and Larouche are a legitimate diameter, opposed straight across, face to face, with stringently warring ideologies to back their strategy for the game.
There is no hard evidence that Kubrick meant to evoke Larouche in his EWS Fidelio password, in his title Barry Lyndon, or anywhere else I know of. But I think, given the starkly diametric attitudes of these two men and the clues from Kubrick himself, that Stan intended just that very thing, to take direct aim at Larouche and his ideology.
Looks like Black wins--and as for Larouche... he's just doing his best.