It maybe soon that I may not be able to contribute to this site for awhile, since season two is coming and I might not be able to keep up with the episodes and do not want to read spoilers. So I may have to lavish over the DVD season one for a time. Anyway I post all my eggs at once and watch it slowly sink in to forgetfulness, I wish you all the best.
A binary matrix patterning motif is inherent within LOST.
This patterning, filled with spirals, cones, cylinders, black/white styled cubits and web motifs is both a visual style of film making used by the creators of LOST as a means to add psychological depth and scenic texture in framing their shots (a lot like how a child colours a frame around a painting), as well as a means to blend one transition with another (similar to the transitional juxtaposition of comic book frames), but it is also, in my theory, a way of visualising an idea that we are all apart of a binary biorhythmic cyclic system similar to a computer that spans the inner richness of life itself to the greater outer workings of the Universe ad existence.
The primary base for my theory outside of LOST is with current contemplations of the 3000 year old eastern divination method known as the I-ching. The I-ching has often been described as the oldest computer because it uses a binary system of chance patterns created from a 64 bit matrix, to foretell current events in ones life and the ‘changes’ necessary toward other forms and places therein. There is a psychological element to play because the I-ching is not just universally relevant but requires a personal reading that only the reader can define not because it is invented, but because the reader is as much apart of this matrix as the counted results themselves (indeed with out which the numbers would become meaningless).
Why the I-ching works. As with any chthonic relationship, the advanced systems we use to operate our science, technology, civilisation and spiritual/mental linguistics, hark back to early primitive times where the root base of our ‘evolution’ was formed. Whether you believe in evolution or intelligent design is unimportant, since regardless of either, somewhere within our physical and spiritual make up is the GOD of our design. This divinity that forms our spiritual and mental natures is a mathematical rhythm that is inherent within our very DNA and spurs from a light/dark cathartic relationship between the forces of higher order and lower chaos. We are a product of our environment and everywhere from the stars above to the unfurling of a leaf and the construction of a temple, whether we create the patterns ourselves or find them already inherent in nature, is maths. Because the I-ching system stems from our instinctual base affiliation with this root origin that is our nature, it therefore acts as an expression of this nature and as a means for us to ‘visualise’ a pattern and, by our own discretion, find meaning and guidance.
The numerical rhythmic workings of the I-ching and Chinese elemental mysticism is not an isolated system and since we are all products of the same global origin, must therefore occur through out human history in any geography and this is the case. I-ching carries the same base 4 and 8 binary workings as the Mayan Aztec Tzolkin Callander, Egyptian tarot and Jewish Kabala. There are many other types of human expression that relate to this binary system, such as linguistics, Jungian psychology, cubism, renaissance art and geometry, biblical and Buddhist scripture, Greek classical mythology and sciences. From the architecture that formed the pyramids to ancient Pacific Island labyrinth writing in sand, we are all apart of the same global matrix. Our own binary code for computer programs is based on this 64 bit system and uses the 0 and 1 matrixes that is the root base of Chinese Wu (nothing) and tai (oneness) chi elemental sciences. There is a current school of theorists who are trying to relate this systemised relationship directly, discussing a match between our DNA armino ACIDs and the 64 matrix system of the I-ching. This would mean that our very psychological makeup is a product of this same pattern/matrix, and indeed all that we create is some how related to this same pattern. It does not take much to connect this root operational system with the spiralling patterns of chain reaction events that make up Chaos theory and perhaps the ‘hyper’ dimensions of Quantum and relativity type physics.
www.tortuga.com/science/DNA/1.html
Life than is a biological computer system ticking away to some eventual ends, its programs running amok on this greater silicon Chip we call earth. Though it must be said that before any of these terms meant anything, the system was there inherent. Before cars and even before we invented the wheel or learned the ways of fire, the system was in motion developing and categorising different aspects of itself. The very matter that make the building blocks of life held this system in motion. Nothing empathises this ‘system’ narrative more than the human limbic, immune and circulatory systems, their understanding well developed in Chinese Medicinal theology. All our emotional and mental catharsis is held up within these three main systematic operations that formed millions of years ago before the human race even existed. Systems that are in part dependant on the acidic composition of our DNA and in that the amino acids that form and direct our behavioural and mental states. The original maths so to speak, that would eventually form through DNA auto correcting and advancing software like patterns, what we now brazenly refer to as the human soul or consciousness.
What does this tell us about LOST. The I-ching impart can be used to create a visual narrative because it dictates seemingly random fractured moments into a chronological
Order that is an ‘event’ comprised of many moments. It can be used to form the bases of a novel, or to relieve suffering from schizophrenia and related disorders by creating ritual in time and occurrence. It can be used to create a richness and depth in the binary compositions of a film set. It can be used to decide the fate of castaways, their journey and pathways though not necessarily their decisions as free willed mechanisms of the writers. So is there a narrative structure in LOST that the I-ching can clarify on? Even if such were not the case, even if the creators could some how isolate themselves from any known scrutiny, according to the theory by being apart of a greater system that is inherent in their natures, they could not help but fall party to some mathematical narrative systemisation that can be divined by using I-ching references or holistic detective work (this of coarse only if you believe anything I have just written). So we begin with the numbers.
The numbers below are correlated with an up and down elemental dualism as well as a ‘guiding’ value using the I-ching.
4. Mêng / Youthful Folly
* * * * * * * * above KêN KEEPING STILL, MOUNTAIN ***
* * * * * * * * below K'AN THE ABYSMAL, WATER ***
8. Pi / Holding Together [union]
* * * * * * * * above K'AN THE ABYSMAL, WATER ***
* * * * * * * * below K'UN THE RECEPTIVE, EARTH ***
15. Ch'ien / Modesty
* * * * * * * * above K'UN THE RECEPTIVE, EARTH ***
* * * * * * * * below KEN KEEPING STILL, MOUNTAIN ***
16. Yü / Enthusiasm
* * * * * * * * above CHêN THE AROUSING, THUNDER ***
* * * * * * * * below K'UN THE RECEPTIVE, EARTH ***
23. Po / Splitting Apart
* * * * * * * * above KêN KEEPING STILL, MOUNTAIN ***
* * * * * * * * below K'UN THE RECEPTIVE, EARTH ***
42. I / Increase
* * * * * * * * above SUN THE GENTLE, WIND ***
* * * * * * * * below CHêN THE AROUSING, THUNDER ***
Exerts taken from:
www.akirarabelais.com/i/i.html#8
All the numbers have relevance but an example of the number four:
Quote:
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In this hexagram we are reminded of youth and folly in two different ways. The image of the upper trigram, Kên, is the mountain, that of the lower, K'an, is water; the spring rising at the foot of the mountain is the image of inexperienced youth. Keeping still is the attribute of the upper trigram; that of the lower is the abyss, danger. Stopping in perplexity on the brink of a dangerous abyss is a symbol of the folly of youth. However, the two trigrams also show the way of overcoming the follies of youth. Water is something that of necessity flows on. When the spring gushes forth, it does not know at first where it will go. But its steady flow fills up the deep place blocking its progress, and success is attained.
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The number four represents the relationship between an older wiser figure and a younger or less wise individual who is seeking information and guidance. In a series of questions at first without discord wisdom is interchanged. However if the questions irritate annoyance gives way and a lesson may be forth coming, though youthful perseverance eventually overcomes, just as the river overflows the valley/dam. Each line is cross-reverenced where it occurs in the 4‘tri-gram’, and imparts a guiding value to the relationship. For instants one image tells of how if the youth importunes guidance without leeway he must be taught a physical lesson in discipline and his own potential. Guidance must be meted out carefully depending on the nature of the courtship, fore if the youth generally desires wisdom to prosper this is good, but if he merely wishes to usurp or emulate the ‘strength’ of the teacher’s wisdom than this may result in a bad outcome. Here the danger of the Abysmal water becomes apparent and drowning or falling may become evident. Left to his own devices the student may flounder but with proper attentive guidance, if the student listens than there is reward. The act of gaining wisdom works both ways, for the teacher learns modesty in the face of the youths eager perseverance. He must therein learn ‘stillness’ and not act with harshness or over react. Sometimes the youth carries with him ‘fantasies’ of grandeur or imaginings which must be overcome before there is further lesson, therefore such an image relates to how the student must sometimes be left alone to sort out difficulties before the relationship can continue and wisdom gained.
It doesn’t take much to see the similarity of this narrative play with certain aspects of Locke’s and Boon’s relationship. There are many other examples of a number FOUR type discourse through out LOSt, Walt and Michael, Hurly approaching Sayid about the numbers, Locke and Charlie, Jack keeping watch over Charlie’s rehab in fact every episode seems to begin with a series of question like discourses whether it is an actual discussion or a visual mystery that with further perseverance of wiser sources eventually clarifies and wisdom is gained.
Below are the numbers in accordance with the symbols found on the Mandala/DNA chart sequencing. It’s merely playing around with this narrative structure a bit. My ultimate hope is to one day refer to an actual episode by taking each narrative ‘moment’ apart and re-ordering it in terms of a structured pattern. This would be my next step.
At any rate I hope those who have got this far have received some wisdom or inspiration from this post. Really it is reiterating points I made earlier, trying to sum them up cohesively before season two.
My main points are basically this: There is a Universal Matrix/mathematical order that exists inherently within all things. I-ching is an example of how this order is innately expressed through human culture, science and art. This human relationship is carthatic in nature and derives from our base primordial origin. There fore it is a product of our evolution or design and vice versa. The Island is able to tap into this ordered matrix much like how the I-ching is able to render values and meanings from the patterns inherently found therein. The Island goes one step further and is actively able to manipulate this ‘greater matrix’, either by some scientific invention or by some extra worldly spiritual hyper magic. Some of the castaways display heightened sensitivity to this manipulation perhaps highlighted by some mental condition that has been learned and is a genetic property of their cthonic origins. Well existing on the island due to its hyper-carthatic nature, such mental conditions including the depths of ones primal consciousness are brought to the fore with the end result being a battle between the original EGO and some more limbic shadow persona with perhaps a third entity ‘other’ controlled by the Island ‘anima/animus’.
For further info on this subject go to:
pacificcoast.net/~wh/Index.html#Translations
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