Magic and Alchemy
Makoto Kurodavisibility
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22 pages
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1 file
2019 School festival special talk manual The function of magic as remedial practice through the act of generating intentional synchronicity making use of synesthesia is argued.
Related papers
More Fun Than Fun: Worlds of Science and Magic Collide.
The Wire Science, 2020
This article is part of the 'More Fun Than Fun' column by Prof Raghavendra Gadagkar. He will explore interesting research papers or books and, while placing them in context, make them accessible to a wide readership. I recently had great fun reading a fascinating book, called Experiencing the Impossible: The Science of Magic (2019), by Gustav Kuhn. I might not have read the book but for the remarkable fact that Gustav Kuhn is both a professional scientist and a professional magician. He is a reader in psychology at Goldsmiths, a constituent college of the University of London, and has publishedin addition to this bookover 60 scholarly articles on the psychology and neurobiology of magic. He and his collaborators were the first to put volunteers into an fMRI machine while they were enjoying magic. They discovered that areas in the brains of their subjects involved in monitoring and managing conflict lit up preferentially. And of course, magic, as Kuhn explains in his book, involves a conflict between what we think is possible and what we think we have seen. In other studies, he has used eye-tracking technology to observe volunteers 'succumbing' to magic. His credentials as a magician are equally impressive: he is the president of the Science of Magic Association, a member of the Experimental Psychology Society and the Magic Circle. A young Gustav was hooked onto magic at 13 years, when his school-friend performed the trick of making an egg appear from behind his ear, and hasn't looked back. All science should be fun, but Kuhn and his students seem to have more than their fair share. This happens when you combine your hobby with your profession. His students learn to perform magic and show off their skills before children, fellow students and the public, all the while gathering data for their scientific papers and theses. I read the following excerpt (trimmed for length) from one of their recent papers with envy: "Sixty participants recruited on Goldsmiths University campus took
A framework for using magic to study the mind
Frontiers in Psychology, 2015
Over the centuries, magicians have developed extensive knowledge about the manipulation of the human mind—knowledge that has been largely ignored by psychology. It has recently been argued that this knowledge could help improve our understanding of human cognition and consciousness. But how might this be done? And how much could it ultimately contribute to the exploration of the human mind? We propose here a framework outlining how knowledge about magic can be used to help us understand the human mind. Various approaches—both old and new—are surveyed, in terms of four different levels. The first focuses on the methods in magic, using these to suggest new approaches to existing issues in psychology. The second focuses on the effects that magic can produce, such as the sense of wonder induced by seeing an apparently impossible event. Third is the consideration of magic tricks—methods and effects together—as phenomena of scientific interest in their own right. Finally, there is the organization of knowledge about magic into an informative whole, including the possibility of a science centered around the experience of wonder.
Zētēsis, Vol 2, no. 3: Twice Upon a Time: Magic, Alchemy and the Transubstantiation of the Senses
Irene Brown, Ron Athey, Jivan Astfalck, Russell Nachman, Johnny Golding, Dr Grace A Williams, Joscelyn Gardner
Zētēsis: International Journal in Fine Art, Philosophy and the Wild Sciences, Vol 2, no. 3:, 2014
Twice Upon A Time: Magic, Alchemy and the Transubstantiation of the Senses In this, the third volume of Zetesis, a neatly packaged Molotov was launched into the ‘out-there’ of art, of science and of life in the disguised form of an international call for papers. We were curious if there might be a different way to re-think/re-make the links between and amongst speculation, materiality, performativity, the senses and sensualities, with bodies both real and imagined, without having to resort to the somewhat staid methodologies of “dialectical materialism” or “objected oriented ontologies” or the seemingly overrated metrics of “scientistic deduction.” Recognising, at the same time, that we were riding the wave of a massive, revolutionary paradigm shift brought on by advances in complexity, radical materiality and the quanta, quarks and feedback loops, robotics, artificial intelligences, transsexualities and ecological verisimilitude our task could not have been more urgent. The Call went out. But rather than ask for a direct or literal response to this ‘re-think/re-make’, the collective chose instead to journey onto a slightly more dangerous, curious path, one not usually linked with formal research, but instead cast often as frivolous or whimsical, illusionary, religious or just plain wrong. We chose to partner with the wild side and take a stronger look-see at the forerunners to all contemporary art, philosophy and science; to wit: magic, alchemy and the transubstantiation of the senses. Under the illusive cloak of magic, the curiosity of alchemists introduced a means for experimentation into the innate properties of materials. The transformation of raw matter into precious metals, the combination of hot sulphur and wet, cold mercury to birth the philosopher’s stone; to bring the inanimate to life, to vanish miraculously and conjure the body, as well as providing a foundation for the laws of substance based on sensory interaction and its potentiality. The scientific practices of today echo this inherent desire for material vitally ‘alive’ transformations, yet Western tradition remains cautious of unreasoned sensorial data, often treating it with trepidation. While this paradigm has proven an efficient methodology, it has installed a discriminatory partition between that which can be rationalised or mathematized and that which is supposedly ‘only’ sensory. These energised and sensate transformations mark the beginning of a new challenge against tradition, returning to curiosity, experimentation and the intensity of the senses away from conventional modes of thought. The Centre for Fine Art Research (CFAR) and the Research Centre for Creative Making (S.T.U.F.F.) based at the Faculty of Arts, Design and Media (ADM) joined forces at Birmingham School of Art – BCU to welcome papers/ performances/exhibition installations that responded to magic/alchemic practices in all their forms, including but not limited to the origins of alchemy and its contemporary relevance in science, magic performance, illusion, automata, the sensory in artificial intelligence and radical thinking in relation to concepts of time. We invited artists, scientists and philosophers to explore again the threshold between these paradigms, dwelling on curiosity and the tradition of scientific questioning. This bold and viscerally complex conference, laid the groundwork for this volume 3 of Zetesis: Twice Upon a Time: Magic, Alchemy and the Transubstantiation of the senses. The exhibitions, artwork, papers and prose contained in this volume include some of the best international practice-led and theoretically emboldened research on this topic today. By foregrounding the alchemist’s vision, we now present here in Zetesis our initial findings: a profane renegotiation of the very boundaries that seemed heretofore always insistent upon separating into binaric unities the so-called texture-realities of representation vs thought, sensation vs logic, image vs text. In challenging those easy divisions, we celebrate the (re-)turn to a ‘twice upon a time’ when transubstantiation, metamorphosis and morphogenesis gives succour to this energy we so nonchalantly call art. Johnny Golding
The possibility of a science of magic
2015
The past few years have seen a resurgence of interest in the scientific study of magic. Despite being only a few years old, this "new wave" has already resulted in a host of interesting studies, often using methods that are both powerful and original. These developments have largely borne out our earlier hopes (Kuhn, Amlani, & Rensink, 2008) that new opportunities were available for scientific studies based on the use of magic. And it would seem that much more can still be done along these lines. But in addition to this, we also suggested that it might be time to consider developing an outright science of magic—a distinct area of study concerned with the experience of wonder that results from encountering an apparently impossible event . To this end, we proposed a framework as to how this might be achieved (Rensink & Kuhn, 2015). A science can be viewed as a systematic method of investigation involving three sets of issues: (i) the entities considered relevant, (ii) the kinds of questions that can be asked about them, and (iii) the kinds of answers that are legitimate (T Kuhn, 1970). In the case of magic, we suggested that this could be done at three different levels, each focusing on a distinct set of issues concerned with the nature of magic itself: (i) the nature of magical experience, (ii) how individual magic tricks create this experience, and (iii) organizing knowledge of the set of known tricks in a more comprehensive way (Rensink & Kuhn, 2015). Our framework also included a base level focused on how the methods of magic could be used as tools to investigate issues in existing fields of study. Lamont & colleagues (Lamont, 2010; Lamont, Henderson, & Smith, 2010) raised a number of concerns about the possibility of such a science, which we have addressed (Rensink & Kuhn, 2015). More recently, Lamont (2015) raised a new objection, arguing that although base-level work (i.e., applications of magic methods) might be useful, there is too little structure in magic tricks for them to be studied in a systematic way at the other levels, ruling out a science of magic. However, we argue here that although this concern raises some interesting challenges for this science, it does not negate the possibility that it could exist, and could contribute to the study of the mind.
A Practice of Magic
This paper originally formed part of a correspondence course offered by the short-lived Sacred Science movement within modern Western esoteric practice. It was designed as an aid for students in training rather than academic study (hence the paucity of quoted sources) and sought to lay a rational foundation for magical practice in the Western Tradition. The paper is offered ‘as is’ — or rather ‘as was’ — with no attempt to update the scientific sections in the light of more modern theories and/or discoveries. (I’m afraid the pentagram and tattva diagrams that accompanied this paper failed to upload for reasons that are far beyond my computer competence. Anyone desperate to have them might like to email me at herbie@eircom.net and I’ll send them the relevant graphics.)
2008 Kuhn et al Towards a science of magic
It is argued here that cognitive science currently neglects an important source of insight into the human mind: the effects created by magicians. Over the centuries, magicians have learned how to perform acts that are perceived as defying the laws of nature, and that induce a strong sense of wonder. This article argues that the time has come to examine the scientific bases behind such phenomena, and to create a science of magic linked to relevant areas of cognitive science. Concrete examples are taken from three areas of magic: the ability to control attention, to distort perception, and to influence choice. It is shown how such knowledge can help develop new tools and indicate new avenues of research into human perception and cognition.
The years of the birth and death of Jesus
Scholars have long debated the chronology of the passion week of Jesus. It is almost impossible not to be confused if one reads an account like the one in Wikipedia. 1 It is not possible to review all the many suggestions within a fairly short paper, so I am trying here to focus on the arguments that I find most relevant.
LA COCINA AYURVÉDICA
El alimento es la vida de todos los seres, y todo el mundo lo busca. La piel, la claridad, la buena voz, la larga vida, el entendimiento, la felicidad, la satisfacción, el crecimiento, la fuerza y la inteligencia, todo se fundamenta en el alimento. De todo lo que es beneficioso para la felicidad mundana y de toda acción que conduzca a la salvación espiritual, se dice que se fundamenta en el alimento.
２０１９和洋女子大学学園祭 魔法学校テキスト
量子力学と深層心理学で考える魔法の原理
（１）
魔法の施行は宇宙の全体性を前提とする
映画『ハリー・ポッター』の場面から
ロンの用いた魔法の呪文：ネズミの色を黄色に変える
Ron: Excuse me. Do you mind? Everywhere else is full.
Harry: Not at all.
Ron: I’m Ron, by the way. Ron Weasley.
Harry: I’m Harry. Harry Potter.
Ron: So It’s true. I mean, do you really have the...?
Harry: ―the what?
Ron: ―the scar.
[Harry exposes his forehead.]
Ron: Wicked.
Vender: Anything off the trolley, dears?
Ron: No, thanks. I’m all set.
Harry: We’ll take the lot.
Harry: ―Berty Bott’s Every Flavor Beans?
Ron: They mean every flavor. There’s chocolate and peppermint, also spinach, liver and tripe. George sweared he got a booger-flavored one once.
Harry: Are they real frogs?
Ron: It’s a spell. You want the cards. Each pack’s got a famous witch or wizard. I’ve got about 5oo meself.
[The frog jumps onto the window.]
Ron: Watch it! [The frog jumps out] That’s a rotten luck. They’ve only got one good jump in them.
Harry: I’ve got Dumbledore.
Ron: I’ve got about six of him.
Harry: Hey, he is gone.
Ron: You can’t expect him to hang around all day, can you?
This is Scabbers. Pathetic, isn’t he?
Harry: A little.
Ron: Fred gave me a spell to turn him yellow. Want to see?
Harry: Yeah.
Hermione: Has anyone seen a toad? A boy named Neville’s lost one.
Ron: No.
Hermione: Oh, are you doing magic? Let’s see, then?
Ron:
Sunshine, daisies, butter mellow
Turn this stupid, fat rat yellow
Hermione: Are you sure that’s a real spell? Well, it’s not very good, is it? I’ve only tried a few simple ones myself, but they’ve all worked for me. For example; Oculus Reparo. That’s better, isn’t it?
Hermione: Holy cricket, you are Harry Potter! I’m Hermione Granger. And you are?
Ron: I’m Ron Weasley.
Hermione: Pleasure. You two better change into robes. I expect we’ll be arriving soon. You’ve got dirt on your nose. Did you know? Just there.
マルフォイの口にナメクジを突っ込む：失敗、魔法は跳ね返る
逆にロンの口からナメクジが出てくる。
作用と反作用は一つの事象として断絶を持たない。
全ての空間、時間に対してこれが成り立つ。
（２）
アニメの博打シーンと意識の機能
魔法は「共感覚」の力を「共時性」の発現に適用する技術
賭けと精神コントロール
麻雀のツモ運を操作することはできるか？
麻雀で言う「場の流れ」とは？
カードや牌はプレイヤーに協調することがあるか？
今日はマンズが味方、昨日はハートに運があったなど
プレイヤーの精神状態のコントロールはツキを呼ぶことができるか？
時間と因果関係
ゲームをする現在と、過去と未来を自覚する意識
因果律的に確定されていない過去と、ベルグソン的時間論
未来の世界線が無数に分岐してあるように、現在に至る無数の世界線を構成する過去がある
「世界線」を意味あるストーリーとして確定する意識
理性は、因果律として世界像を把握している
無意識は、原因と結果の連鎖として世界像を把握してはいない
「原型世界」では、全ての出来事の組み合わせが可能態として潜在している
知覚と理性の外側の感覚で自らにとっての世界の意味を読み取る術
意識と世界の繋がり―Oneness
精神と時空は連続体として繋がっている。
心の中に世界があり、全ての心と心が連接している
過去は、未来の結果の反映としてある
クオリアを生成する共感覚
「知覚」は現象を物理的刺激として脳に伝える情報だが、意識は現象として具現する前段階の「原型世界」を「直覚」の力で感じている
知覚として情報が個別化される以前の、時間—空間と意識—物質の分離のない状態を感知する能力は、「共感覚」として現象情報を種々の様相に変換し、特有の「クオリア」を生成する
ダウジング、水晶球、筮竹、タロット、手相など様々の形式のもとに宇宙全体を背景とした個別の事象の意味様相（クオリア）が形成される
シンクロニシティ
直接的には因果関係を持たないことが明らかである系外の事象が、あたかも運命に導かれているとでも言えるような符号となる複合的な意味を兼ね備えたものとして意識の主体によって実際に体験されるという現象が実際に存在することを認め、ユングはこの原理を“シンクロニシティ”という言葉で呼んだ。因果関係を持たない事象の間に主観的に意味ある何かを読み取ることができる現象とは、世界と個人の間にある見えざる関係性の顕現である。ユングは重力の法則が世界を支配するように、運命の法則ともいうべき“シンクロニシティ”があると理解して、現象世界の背後にある本質世界の実体を理解するための仮説として提唱した。
知性の裏側で直感的判断を見出すことができるこの能力は、しばしば“ダウジング”(dowsing)と呼ばれる技術の原理を適用して説明することができる。世界を創り出す情報の根源である原型世界と連接する無意識の領域から時間的・空間的な制約を超えて、因果関係に支配されない直覚の開放を通して様々な占卜（divination）を行う伝統的な技術がこれだ。二股のロッドや振り子やカードやチャートなど、時には聖書やコンピュータや小動物等も活用して、あらゆる存在物を媒介にして無意識の領域から未来を導く啓示を見出すこの技術は、シンクロニシティの機会を動的に発現させることを目論む、意図的な行為だ。
ここで言及した意識の機能と宇宙を支配する運命的法則性に関する考察は、アニメ『Madlax』を考究した４編の論文でさらに詳しく掘り下げられています。
https://wayo.academia.edu/MakotoKuroda/Anime-Study-Madlax
Peter S. Beagle のファンタシー作品『最後のユニコーン』の中心主題である魔法は、このような宇宙論的意義性を背景に備えています。魔法とシンクロニシティの関係については、以下の研究書で考察が行われています。
https://www.amazon.co.jp/gp/product/B07WJ64CNQ/ref=dbs_a_def_rwt_bibl_vppi_i0
(3)
『マルドゥック・スクランブル』のギャンブル・シーンと共感覚
アニメは、錬金術と同様に病んだ精神を修復し世界の均衡を回復する
『マルドゥック・スクランブル』
エロ・グロ・ナンセンスに隠された教育的要因
汎用生物兵器ウフコックの感じる匂い、恐怖と殺意
ルーン・バロットの感じる「鳥の飛ぶ感じ」、「尖った感じ」、「丸い感じ」
骨董品の真贋を察知する直覚と、本物の感触
悪意ある世界と被害者たる自分の間の関係の修復
錬金術の基本原理と、科学思想の前提とする世界観
「運が悪いと思ってました」—カードを味方につける心構え
盲目的な神の如く振る舞う人間達
弁護士は依頼人の精神をズタズタにして裁判を有利に進める
欲と暴力に精神を乗っ取られて生きる人間達
フェチシズムと殺人衝動と自傷のリビドー
敵対者シェルは、記憶を凍結させて消去する事によって現在を生き続ける
抗争の相手ボイルドは、休息を捨てて破壊行為の中に今を生きる
人の枠外にあるものたち
人に使われて有用性を示すことによってのみ存在を容認される高等知性
理性偏重と男性原理の支配に侵されない人工知性
ネズミとイルカを基体として造った平和な高等知性体
人の姿と人の活動を放棄して暴力の支配から脱して生きるもの達
運命を受け入れて世界と和解する術
ギャンブラーの道は精神修養？不幸と理不尽への対処の仕方
ルーレットのスピナー、ベル・ウィングの見つけた答え
ブラックジャックのディーラー、アシュレイ・ハーヴェストの見つけた答え
主人公ルーン・バロットが学んだ答え
自分の過去を含めて世界を右回りの回転に調整する
ユング の「ヨブへの答え」、神と人の心霊的関係
「マルドゥック・スクランブル」の見つけた「答え」
15歳の少女の学んだ謙虚と自制と運命愛
2019 School Festival Talk text
The Principle of Magic and Alchemy
Grasped through the Ideas of
Quantum Physics and Analytic Psychology
I
The use of magic presupposes oneness
From the scenes of the movie Harry Potter
Ron’s magic: Turn the color of his rat yellow
Sunshine, daisies, butter mellow
Turn this stupid, fat rat yellow
Ron: Excuse me. Do you mind? Everywhere else is full.
Harry: Not at all.
Ron: I’m Ron, by the way. Ron Weasley.
Harry: I’m Harry. Harry Potter.
Ron: So It’s true. I mean, do you really have the...?
Harry: ―the what?
Ron: ―the scar.
[Harry exposes his forehead.]
Ron: Wicked.
Vender: Anything off the trolley, dears?
Ron: No, thanks. I’m all set.
Harry: We’ll take the lot.
Harry: ―Berty Bott’s Every Flavor Beans?
Ron: They mean every flavor. There’s chocolate and peppermint, also spinach, liver and tripe. George sweared he got a booger-flavored one once.
Harry: Are they real frogs?
Ron: It’s a spell. You want the cards. Each pack’s got a famous witch or wizard. I’ve got about 5oo meself.
[The frog jumps onto the window.]
Ron: Watch it! [The frog jumps out] That’s a rotten luck. They’ve only got one good jump in them.
Harry: I’ve got Dumbledore.
Ron: I’ve got about six of him.
Harry: Hey, he is gone.
Ron: You can’t expect him to hang around all day, can you?
This is Scabbers. Pathetic, isn’t he?
Harry: A little.
Ron: Fred gave me a spell to turn him yellow. Want to see?
Harry: Yeah.
Hermione: Has anyone seen a toad? A boy named Neville’s lost one.
Ron: No.
Hermione: Oh, are you doing magic? Let’s see, then?
Ron:
Sunshine, daisies, butter mellow
Turn this stupid, fat rat yellow
Hermione: Are you sure that’s a real spell? Well, it’s not very good, is it? I’ve only tried a few simple ones myself, but they’ve all worked for me. For example; Oculus Reparo. That’s better, isn’t it?
Hermione: Holy cricket, you are Harry Potter! I’m Hermione Granger. And you are?
Ron: I’m Ron Weasley.
Hermione: Pleasure. You two better change into robes. I expect we’ll be arriving soon. You’ve got dirt on your nose. Did you know? Just there.
Ron Fails to make Malfoy swallow slugs
Slugs came out of Ron’s own mouse
Action and reaction constitute a single phenomenon without any break
This principle applies to everything both in spatial and temporal relationships
II
The Divinatory Function of Consciousness
Derived out of Gambling Scenes
in the Anime Mardock Scramble
Understand Divination, Synesthesia and Synchronicity
As Means of Attempt for Recovery of the Balance
Between Soul and Cosmos
Cosmological Philosophy Applied in Gambling
Is it possible to rearrange the disposition of playing cards and mahjong tiles?
What is “the flow of game”?
Can some cards or tiles be friendly with the player?
Today, I am getting along with Hearts nice—
Does one’s own mind control lead to luck control?
Time and Cause - Effect relationship
Game playing is occurring present, but consciousness is aware of both the past and the future
Undetermined pasts and Bergsonian time
As innumerable world lines are branched from now, there may be innumerable pasts that come to now
Consciousness perceives a world line as a meaningful story
Reason grasps the world as cause and effect chain, but the unconscious intuits the wholeness not as a line
Oneness: Cosmological Linkage – Everything is Connected
Future is reflected in every phase of past
In pleroma state every combination of events exists as possibility
Intuition senses the primordial archetype beyond the ability of perception and the grasp of reason
Mind is linked to time-space continuum
Consciousness contains countless worlds and every mind is connected to others
Synesthesia Generates each Qualia
While perception deals with stimuli as physical information to be communicated to the brain, consciousness is able to intuit the pleroma state before materialized in the phenomenal world
Intuition is able to formulate various phases of qualia out of the primordial mixture of “oneness” by the function of “synesthesia”
Synesthesia generates particular phases of qualia as meaning units that reflect the whole universe; through such devises as dousing rod, crystal orb, augury bamboo sticks, tarot cards and palm reading
Magic is an activity intentionally trying to generate occasions of synchronicity
Synchronicity as the Goal of working Magic
According to scientific worldview, where every phenomenon is supposed to occur in linear local/mechanical chain of causal action relationship, it is not allowed to discover any meaning more than a physical phenomenon described as the motion of a mass in accordance with the laws of dynamics. Any similarity perceived in the event that is observed outside of the system as inevitable mechanical action is a mere coincidence, and it is impossible to find an inherent meaning associated with it. Any miraculous event received by the subject of consciousness as some sort of revelation, or impactful phenomenon that shake the spirit of the people as a mystery, can be no more than a false “analogy”, the deluded projection of the mind. It is the function of consciousness to read a concealed meaning other than the mechanical action in the correlation of natural process of event generation. But the characteristic nature of the detailed description in a fictional work that is portrayed as accidental event demands that some distinctive “fictional meaning” should be read out, in the very event that scientific worldview dismisses as a “coincidence”.
It has some similarity to the notion posited by Jung in his presentation of the concept “synchronicity”, that the universe can be grasped in its wholeness through the meaning constructing function of the mind. Jung admitted the possibility that some events can be accepted by the subject of consciousness as miraculously meaningful occurrence even though it is obvious that one event is outside of the mechanical system of the other, and does not have any direct causal relationship; and he called this principle that there is some kind of a sign to be regarded as a revelation that combines the complex meaning associations as if led by fate, by the term “synchronicity”. It is something like a natural law that one can read something subjectively meaningful in the events that do not have any causal relationship, as a manifestation of the hidden connection between the universe and an individual. Jung believed synchronicity to be some kind of intrinsic order that rules fate, as the law of gravity dominates the physical world, and proposed the hypothesis to understand the essence of the latent phase that lies behind the phenomenal world.
The ability that makes one capable of producing intuitive judgement independent of the power of intelligence can be explained by the principle of the art that is usually called “dousing”. It is a traditionally acknowledged technology applied to various sorts of divination by releasing consciousness from the spatio-temporal restriction of cause and effect relationship, gaining direct contact with the unconsciousness where primordial source of information that constitutes the whole world is stored. Small animals, charts, pendulums, and Bible are often used in addition to forked rod, together with various sorts of cards like Tarot or even computer, to acquire a chance of revelation for future guidance. This is an empirical practice performed in order to discover providence out of the region of unconsciousness making use of every kind of medium. This is an intentional attempt to reveal the occasion of synchronicity.
This topic is discussed in the argument of fictionality and perspective in the Anime Madlax
https://wayo.academia.edu/MakotoKuroda/Anime-Study-Madlax
The main topic “magic” of Peter S. Beagle’s fantasy novel The Last unicorn suggests the cosmological implication discussed above. Further argument on the relationship between magic and synchronicity is developed in the study of The Last Unicorn below.
https://www.amazon.co.jp/gp/product/B07WJ64CNQ/ref=dbs_a_def_rwt_bibl_vppi_i0
III
Synesthesia in Mardock Scramble
Anime restores sick soul and regain the broken balance of the world as alchemy does
Mardock Scramble
Truly educational factors hidden in ero, gro and nonsense
Multi-purpose bio weapon Oeufcoque can smell fear and murder
Heroine Rune Balot expresses her sensations as “a bird flying”, “edged” and “not edged” etc.
One can really sense “genuine antiquity work”?
Does intuition sense “true artwork”?
What augury indicates to humans who are slaves of time
The restoration of the relationship between oppressed self and malicious world
The principle of Alchemy and the fundamental premise of science
“I thought I am ill-fated”; how to prepare to be friendly with cards and dice
Men behaving like blind gods
The advocate tries to get advantage in the trial by torturing the client
Men possessed by greed and violence
Fetishism and murderous intent go self-injury
The opponent Shell lives on by freezing his memory
The enemy Boiled lives a life of utter destruction rejecting rest
Beyond the Limit of Human
High intelligences allowed their existence by proving their utility
Artificial intelligences are not ruled by rigid reason or men principle
Peaceful intelligent life forms produced out of a mouse and a dolphin
Men living excluded out of the rule of violence abandoning human shape and activity
Fortune Telling and Reconciliation with the World
The way to reconcile oneself with the world accepting the fate
Gambler’s way as mental training, how to cope with ill fate and cruelty
The answer the spinner Bell Wing got
The answer the dealer Ashley Harvest got
The answer the heroine Rune Balot learned
Adjust the world to the right turn together with one’s own past
Jung’s “Answer to Job”: psychic relation between man and God
Mardock Scramble’s answer
A 15-year-old girl learned modesty, self-control and amor fati
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