The Invisible Counterpoint

"Her"  The power of this fusion fantasy can be seen in a simple  experiment that has been repeated over and over again by Silverman and his group.  They showed subliminal messages to hundreds of people, and found that only one —" MOMMY AND I ARE ONE”— had an enormous emotional effect, reducing their  anxieties and pathologies and their smoking and drinking addictions measurably.  “Daddy and I are one” had no effect.  "Iron Man 3" Warriors become fused with the powerful mother that masturbated them during menstruation; they then decorate themselves with menstrual blood-red paint so they can appropriate the fearful power of their Killer Mothers. Wars in early civilizations are fought on behalf of and against Killer  Goddesses, bloodthirsty mothers like Tiamat, Ishtar, Inanna, Isis or Kali. Typical is  the Aztec mother- goddess Hiutzilopochtli, who had “mouths all over her body” that  cried out to be fed the blood of soldiers. ...

Her (Spike Jonze) "The film, with its dewy tone and gentle manners, plays like a feature-length kitten video, leaving viewers to coo at the cute humans who live like pets in a world-scale safe house." ( Richard Brody ) This statement is made by someone who clearly lives outside the safe house. I personally think the number of people out there like that, on the outside, are dwindling, and therefore imagine rather more people are relating to the film than he assumes are cooing. Brody lives in New York, and might assume that most people living in giant metropolises are still denizens of environments who go to kitten videos only as respite from the harsh city, but this may be more and more untrue. The reason is that the leverage cities need to be this way--and it does require leverage: the city as maybe not an easy but a possible sure way to cosmopolitan independence, is an acquisition, a height--may exist too shallowly right now so that in truth they're playing out now ...