The Black Box

This article will connect Kubrick's Monolith with the events of 9/11. To do so we will look at a certain actor, one Dan O'Herlihy, and his roles in the movies, Fail Safe, Robocop, and The Big Cube. We will also integrate Arthur C. Clarke's novel, Childhood's End.

I'm inspired to write about this theme, which has been kickin' around the old noggin' for sometime, due to comments from JFR. JFR is a New Yorker who was in Man-hat-tan on the morning of Sept. 11th, 2001. He says that on that day he knew that a World War had started. I wish to enhance the notion of this War. I think it is the War of Reality Against Itself.

The first link in our chain of meta-puns is The Millennium Hilton Hotel, which, according to wiki, was built to resemble Kubrick's Monolith (see below). It is right across the street from the World Trade Center Plaza. Keep this in mind.

Next up is to remember our many previous comparisons of Kubrick's Monolith to The Stone, The Cube and Hyper Cube. Please read these articles for a full appreciation of this connection.

There is a key moment from Clarke's Childhood's End. An alien presence unifies humanity in a single moment of mortal pain by psychically linking all humans to a bull that had just been killed in the bull-fighting ring. All humanity screams simultaneously. This is important to our chain as we look into the career of actor Dan O'Herlihy.Notice the Monolith shaped block of black letters in the title 'The Big Cube', and also that O'Herlihy's billing appears in the cornerstone of the poster.

According to imdb, O'Herlihy was trained as an Architect. In 1969's The Big Cube, he plays a character nicknamed 'El Terron'. This term implies a clump of earth or a stone(?).
In Robocop he plays 'The Old Man'. In his office, The Old Man has two very interesting pieces of art. One is a large black cube, made of a lattice framework. The other is a Monolith, very similar to Stan's, upon which a raven is perched. This closely ties The Cube to The Monolith and especially, to the color Black.

Onto Fail Safe. It must be noted that there are showbiz rumors that prior to the release of Fail Safe, Kubrick planned Dr. Strangelove as a drama. I don't know if this is true, but one doesn't need to look deeply for links between these two movies. Fail Safe is also about a rogue bomber with Moscow as it's prime target.

It so happens that in Fail Safe, O'Herlihy plays a certain General Black, of the US Airforce. The General has been having a disturbing dream, over and over. In it, he is a bullfighter killing a bull. At the moment of the kill, he awakes in a cold sweat.

Later, as part of the plot development, Black will be asked to drop an H-Bomb onto NYC, where his family happens to live. He complies. As he completes his mission, he takes a poison pack and dies. His final words: 'I am the bullfighter, the bullfighter is me!'

I suggest that the events of 9/11 are directly linked to this set of puns.

Monolith = Millennium Hilton = Box/Cube = Stone = El Terron = The Big Cube = Dan O'Herlihy as an Architect and as = The Old Man and as = General Black = The Bullfighter =The destruction of NYC by America's Own = The Moment of Simultaneous Human Suffering = 9/11 = and back to the Monolith which, as The Millennium Hilton Hotel, coldly overlooked the events of 9/11 and gazes still over ground zero, always watching. A Sentinel.Peace, Boyz and Goylz

Dark Side of the Moon: Stone Synch-up

The synch-up of 2001: A Space Odyssey with DSOTM is not to be missed.

Here is how you do it. First and very important is to set your music media player to All Repeat. Don't forget this simple instruction: ALL PLAY REPEAT. Also, use factory release media, so that leaders and track spacing is uniform. Tinker with the sound mix throughout, to hear as much movie dialog and lyrical content as you can. Also, do not pause the album for the DVD Intermission and Entr'acte. Just let it roll.

Start playing DSOTM right on the attack of the last note of Also Sprach Zarathustra, from the Main Title Sequence. Or, you can start it at exactly 4:23 on the 2001 DVD timecode.

You can stop the synch-up after the third play of ECLIPSE.

Here are my observations grouped under SONG TITLES, for a triple play of DSOTM.

In bold are direct textual references.

In italics are musical cues that synch very well with the film.

In standard are some thoughts as to what it all means.

Let's begin.

The first image of 2001 is The Dark Side of the Moon.

SPEAK TO ME

As we hear the heartbeat from SPEAK TO ME the title card Dawn of Man appears.

The musical movement begins in perfect time with the first movement of Kubrick's camera.

Monkey is killed by leopard to the lyric '... all you touch and all you see is all your life will ever be'.

Monkey digs to lyric '...don't sit down, it's time to dig another one'.

ON THE RUN

Begins right at the confrontation with the second Monkey tribe.

As ON THE RUN begins to modulate, night falls on the Monkey Men. Note the dream voices from the musical track.

TIME

The fade out of ON THE RUN transition to the chimes and bells near the beginning of TIME. These bells literally wake up the Monkey tribe to first see the Monolith.

Monkey groove to intro of TIME very cool.

Drum break to first lyric timed to match the alignment of Monolith, Moon and Sun.

Consider the thought of the first proto-human man as he teaches himself to use tools. '...there is time to kill today'. Time to kill, monkey man, time to kill. This is confirmed as the Monkey returns with his slain prey.

'...tolling on the iron bell'. I suggest this is the same bell as from Donne. Ask not for whom the bell tolls. The bell is death.

Monkey Man murders other monkey to the lyric '...hear the softly spoken magic spell'. It is the spell that leads us to another world, beyond death.

GREAT GIG IN THE SKY

The transition is beautiful. The first proto-human reaches into space as the monkey-bone goes airborne.

Consider the title of the track GREAT GIG IN THE SKY as counterpoint to the first images in space. GREAT GIG IN THE SKY. C'mon people!

MONEY

Notice the IBM logo, just as MONEY starts, on the control panel inside the cockpit of Floyd's trip to the International Space Station. Before they made computers IBM made cash registers. Cha-ching.

Just as Money ends we see the only reference to money in the film. The price of Floyd's call to his home on Earth. $1.70

A voice track on DSOTM claims I was really drunk at the time. Mislov, and probably the other Russians too, are enjoying a cocktail.

US AND THEM

Begins to time with the ever so subtle detente between the east and west.

Floyd asks, '...which way are you going, up or down'. Up and Down are key lyrics in US AND THEM.

Consider the image of the moon lander on its way to the Moon. From the way the images are composed, one can not say if it goes up or down.

The lyric '...down and out...' introduces the Zero Gravity Toilet.

There are many images on screen during this song that are upside down that are then inverted to rightside up.

ANY COLOR YOU LIKE

Moon landing begins.

BRAIN DAMAGE

Lyric '...the lunatic is on the green...'. Floyd delivers his cryptic lecture standing on a green astro foam carpet.

Lunatic derives right from the word Lunar. Given Floyd's ultimate destination at the Tycho Monolith excavation, this song seems appropriate.

ECLIPSE

Begins the final approach to the Monolith at Tycho.

SPEAK TO ME(2)

Compare the Tycho excavation to the lyric, '...don't sit down it's time to dig another one...'.

'...race toward an early grave'. The Tycho excavation is in the shape of a burial plot.

ON THE RUN(2)

Men descend into the excavation.

Important musical break at the exact moment the Monolith sends its signal.

TIME(2)

The chimes and bells of TIME are counterpoint to the first images of the Discovery. This occurance times backward to the first discovery of the Monolith in The Dawn of Man. The Discovery in deep space represents a simulacrum of Mans first interface with the Monolith.

The TIME lyric begins just as we first see HAL's eye.

The phrase, uttered by HAL '...watching over the men...' times backwards to match the first murder in The Dawn of Man.

GREAT GIG IN THE SKY(2)

Sad music HAL's chat with the BBC and for Frank Poole's birthday message.

MONEY(2)

Begins just as HAL checkmates Poole.

Lyrics subside for conversation between HAL and Bowman.

Guitar solo begins when HAL detects faults in the AE-35.

US AND THEM(2)

This playthrough of US AND THEM tracks backward to the earlier discussion between Floyd and the Russians. Is Kubrick talking about some kind of rampant communication breakdown.

Lyric '...up and down...' just as Bowman is seen upside down.

ANY COLOR YOU LIKE(2)

Timed for transmission from Earth re: AE-35

BRAIN DAMAGE(2)

Begins the discussion in the pod.

As HAL lipreads, the lyric states '...you shout and no one seems to hear...'

Lyric, '...I'll see you on the dark side of the moon...' just as screen goes black for Intermission.

ECLIPSE(2)

Contiues through Entr'acte. Black Screen = Eclipse.

SPEAK TO ME(3)

The sequence called Cut Adrift, coming out of ECLIPSE (black intermission screen), begins nicely with the music in SPEAK TO ME.

Musical cue, scream as Poole exits Pod for his final space walk.

Lyric, '... breathe...' as Poole finally suffocates.

ON THE RUN(3)

Follows Bowman's attempt to recover Poole's body.

TIME(3)

Begins when the POD reaches out to touch HAL. This scene times back to synch with the the first Man seeing the Monolith. Man touches space, machine touches death.

Guitar solo begins when Dave realizes HAL is not responsive.

When Dave realizes he is stuck without his helmut the lyric is '...shorter of breath'.

As Bowman repeats, HAL, HAL, HAL, I suggest he subconsciously gasping for breath.

GREAT GIG IN THE SKY(3)

Beautiful musical transition as Bowman releases Poole into space.

MONEY(3)

Begins just as Dave re-enters The Discovery.

Money fades as HAL breaks down and sings the final phrase of his song to Dave.

US AND THEM(3)

As we begin it's Floyd again and his message to the crew of The Discovery.

ANY COLOR YOU LIKE(3)

Begins when we are shown the first of Dave's eye close-ups.

BRAIN DAMAGE(3)

Begins as we see the second eye close-up.

ECLIPSE(3)

Begins at the time of the last shot of Dave's eye and ends as he finally emerges from the Pod.

END SYNCH HERE

Jack in the Box and a Stone in the Hand

In order to address some wicked comments at Durkin's Garage, they are quoted here, in a kind of forum style. If you have already read the comments at Durkin's Garage, scroll sown to the bold title, Jack in the Box and a Stone in the Hand.

From JFR

The Q is the clue!

What's the most powerful piece in chess? What's the most vulnerable? Just as the all-seeing eye shines down to let the weed patch below grow high, so does K leave magic boxes around lying low. Check lower quadrants for crystal, fire and ash.




In North Right I, JFR



Also: actor who plays Durkin, Tony Burton is a heavyweight boxer, appeared in all six Rocky movies, AND beat Kubrick in chess. Publish press myths find Tony stayed on the set long after he shot his scenes just to play chess with Stanley. He was also allowed to reveal the "secrets" of the elevator scene to the press. Kubrick saw this man as his mate, his equal. In the film, Durkin has the power as a car-man to move things around, an position comparable to film directing ... or chess-playing ... or boxing!



1. Six Rocky movies form another CUBE.
2. Shining takes place in the Rockies.
3. Shining stedicam man Garrett Brown also worked on 3 Rocky movies, including "Rocky II" during Shining schedule.
4. Burton plays the "CORNER MAN" in the Rocky movies.
5. Burton's name in the Rocky flicks is "DUKE" (highest rank below the Crown, the knockout fist)
6. Which calls to mind the famous "Battle of the Blues" rivalry between Duke University and Univeristy of North Carolina... The Blue Devils vs. the Tar-Heels ... the Eye against the Pyramid...



And from Matte



wizard, in the event that you're correct about this boxing/cube theory, and you are making a good case for it, note the other omnipresent box in the film, the boob tube. was stanley tipping his hat when jack says "it's ok, he saw it on the television"? that line is pregnant with meaning. (note also that a woman's "private" area is also known as her "box".



i looked at your cubes and am reminded of film frames -- stanley is nothing if not self-reflexive. jack's manuscript is not a novel or a screenplay but the film itself, complete with cryptic kubrickian code. is jack holding a frame of film?



wizard, your box....the cube....it's in mulholland drive. holy shit!

Jack in the Box and a Stone in the Hand

...I will give him a white stone, and a new name written upon the stone which no one knows but he who receives it. - Rev 2:17

Because I am going to talk about some clues in the Bible I offer a caveat. I am not a Christian, Jew, Muslim, or Buddhist. I reject all forms of worship, be they systematic or otherwise. To me, the very idea of The Sacred is anathema. Like silver to a werewolf. I behold the Bible and other eldritch texts not as sacred but as cryptographic and possibly hostile technologies.

Now then, there are many references in the Bible, both Old and New Testament, to mysterious stones. A survey of a good concordance will illustrate that along the historical curvature of the Bible, these stones shrink from colossally monolithic to hand size. Sharpies are sure to accuse that we are not told that these are the same stones. I am making an inference that it might just be the same stone, and I am aware that this is likely to be controversial.

Consider Matte's read that in the final photo, it is a frame of film that Jack holds in his palm. I can confirm this possibility from personal experience. You can too, if you are old enough, or if you possess some very old film negative. Until fairly recently, photo film negative was usually delivered in a folded piece of waxy paper. The item Jack holds does seem a little small to be a piece of negative, but I'm too intrigued to let it drop without consideration.

Our next connect comes from the now well worn observation that the Monolith from 2001 is a film screen turned sideways. If one accepts this formula, then it is a simple matter to imagine the Monolith as the surface of a filmic negative, either photo or cinematic.

Deep Kubrick readers will remember multiple descriptions of the Monolith as a smooth black stone. I can not site sources here, as I don't remember exactly where I happened upon it, but the smooth black stone reference is out there somewhere. As I write this, it occurs that maybe the smooth stone reference is from the Clarke's 2001 novel, but I'm not quite sure and I don't own a copy.

So we have now a meta pun. Stone = Monolith = Small Stone = filmic image in Jack's hand for final photo = Jack holds the Monolith!!!.

To this recipe I add a dash of madness. Isn't it so that in King's novel, The Overlook burns down. Perhaps this is a clue to the removal of the famous missing scene from the end of The Shining. Without the Ullman hospital visit, Kubrick can leave the final fate of the Hotel up to the viewer. Perhaps, if Kubrick had let us look at the photo even longer, we would see flames licking up around its frame.

And from Lord of the Rings: Return of the King. Merry pick's up (holds) a stone which is The Eye of Sauron. The connection of an eye to a stone takes us right back to Durkin's Garage. The Monoltih is The Box is the Stone and bears an Eye.

Added here are the riffs from JFR, above, about boxing and chess. This guy takes ideas from everywhere and makes them a hundred times more clear and cool and cogent. He is like Japan or something.

The series of boxing meta-puns, and even moreso in the light of JFR's additions, ought to convince at least one or two hardcore skeptics of what we're at here.

JFR also invokes The Q - and I think it is key. Jay Weidner points out the interesting pun upon Kubrick. A Cube Brick or a Brick Cubed. Just play with three bricks and you can arrange at least a few different models of the Monolith. And as you suggest, JFR, we seem to be talking about a very fragile and yet very great power.

To that power I offer my respect and my fear, but never, of my own will, worship.

And a quick take of Matte's observation that box is a vulgarity for the female genitalia. I think you are on the simolians, and it relates directly to Wendy's riffle through Jack's novel. Seen through Rorschach blot, the words 'All work and no play makes Jack a dull boy' could easily be read as 'My wife doesn't fuck me anymore and I'm starting to get pissed about it'. Wendy is an true Oedipal UberMom. After bearing a Son, her box is off limits. Jack wants entrance into the cosmic vagina, where he might find a muse. Because he is denied this muse he can only stack page upon page of nothingness, a hyper-cube to the heavens.

The Pax is in the Mail.

P.S. Readers intrigued by the appearance of the stone in the Bible and it's connection to modern eschatology should take a look at the lectures, online, of David Flynn.

Durkin's Garage: More Secrets of 'The Shining'

To begin this post I need to re-establish a thread of ideas that I have already discussed. Some of these ideas can be found at a couple of earlier posts here and here, at Da WWWiz. Others were initiated at a now unnameable forum that I frequented, for a brief but beautiful halcyon, and from which I am now banned. C'est la vie, my friends.

The original threads can be accessed through the links found here, although I understand that they are suddenly and for some unexplained reason, members only. If you want to read them, version original, you must now become a member of the unnamed forum. The forum can be accessed through the very topmost link on this site, collative learning, and then linking to the forum, or through the links at the article below. I wouldn't be surprised if these forum threads are quickly removed. To address this problem, I simply must re-cap these key themes, very briefly, in this post. Readers who have read these threads and have a good command can just skip down to the section, in bold, called The Durkin Revelation.

Before I begin, I need to acknowledge by name a few helpful thinkers who nudged me forward with their keen observations and original theories. They are:

daka, for her connection of the Dempsey/Carpentier Boxing Match to the final photo in The Shining.

matte, for his generally brilliant mind and for his insistance that these ideas need as much textual support as is possible.

JFR, for his simply amazing layout of the topography of The Shining, as well as his inspired calculation that the final moments of The Shining take place around Christmas time.

There are some other posters, buyklansticker and How You Say It, that also made interesting comments which may also deserve some credit for the information below. Sadly, as I have been banned from even viewing the forum, I can not give specific details of their contributions at this time. If I have missed anybody, I'm sorry. Leave me a jot and I will correct the error.

Alright then, onward with Durkin's Garage, which should really be called...

Durkin's Garage, the Gloved Hand of Power, A Sheaf of Paper and The Awful Secrets of the Hyper-Cube

First, scenes from last weeks episode.

At the links found above I have gone to great lengths to suggest the following series of connections inherent in Kubrick.

The Gloved Hand of Power and Strangulation

In Dr. Strangelove the title character is constantly strangling himself with a gloved hand.

In The Shining Danny suffers a throttling.

In Eyes Wide Shut, Dr. Bill caresses the throat of a young patient and asks 'Does this hurt?'

In Full Metal Jacket Private Pyle is strangled by Sgt. Hartman.

In 2001, Poole is suffocated.

The Strangelove pun is Doc, Strangle and Love. This is implied in EWS, when Doctor Bill is strangling his patient, a young boy. We find the same image for The Shining: Danny's nickname is Doc, and he is strangled. The glove and strangle is implied more sublty in FMJ. In early scenes, Sgt. Hartman is hiding one hand behind him. Later we will see posters of a clenched fist, on the shrapnel riddled walls of Kubrick's Hue City and environs. One could add that in The Shining and EWS, the element of love is indicated by the presence, in both films, of an over bearing mother at the moment of strangulation.

Doc, Strangle and Love (Glove).

Why is this theme important? Well, it goes directly to the idea of complete Matrixical control, which will be explored when we take shelter in Durkin's Garage. I'm not talking about simple mind control, but control of reality itself, or at least an example of the process. This is a short post, so please stay with me.

It is here that I must ask you to begin to juggle. The next theme that we add is that of Christmas. Please recall that all of EWS takes place at Christmas. In his exam of the young boy, Doc Bill actually mentions Christmas. Furthermore, as Sgt. Hartman reveals in the first act of FMJ, the training of the recruits also culminates at Christmas Time. Danny's strangulation also takes place right around Christmas.

Keep the Christmas meme in mind as we continue.

We must now take a quick look at the cryptic presence of Bill Watson.

Watson, a seeming cypher, appears as a third wheel during The Interview, and as a fourth on Closing Day, as the Torrances are shown about the Overlook. Pay special attention as Watson follows the party through their inspection of The Color-ado Room, found at 22:30 on your DVD release. He walks the same path as Kubrick and his stedicam crew as they follow Danny on his first Big Wheel ride.

To fully appreciate the meaning of this idea you must consider that Bill Watson is a pun upon the question: What's On the Bill? If you are worried that Watson also appears in King's novel then this post isn't for you. Smart kids are aware that Kubrick has massive if not total control of his material. If you have any doubt about this, save us all a little time and just go play in your room.

Keen observers discovered long before my own investigation that Kubrick was nigh on to obsessed with the image of a shining light or eye atop a pyramid. Please take a look at the link, found in a post here, called Bill Watson in The Shining. The link should be good until Rob Ager decides to remove one of the most popular threads at his forum. If the link(s) is removed, come back here in a few days, after I learn to capture an image from video and I'll show you myself the many images from Kubrick to validate this idea. Or you can just trust me. Kubrick includes an significant homage to this image in throughout his work.

Look here, at the eye on the pyramid. If it is rotated, with the eye as focal point, on a horizontal axis, it becomes the projector of a camera. The bottom and interior surface of the pyramid becomes the movie screen. If you have trouble with this model, just imagine yourself over a pyramid, looking down from the top. Surely now you can see that the top point could represent the point of projection of a movie, with the bottom interior surface serving as the screen.

Kubrick treats us to another viewpoint that confirms this image of rear projection in 2001. Here the surface of the Moon is the back of a movie screen. We can not see what is on the screen because Kubrick is showing us a view from the other side. The Sun is the projector and the backlit image of the Earth is the head of the movie-goer. The path of light, from the Sun to the unseen side of the Moon forms the shape of a four-square pyramid through the process that photographers call parallax.
So we have Bill Watson = What's On The Bill? as a clue to the nature of the projection of imagery, and in particular the so-called Luciferian light of illumination.

This is important, because as we enter Durkin's Garage, we are given another powerful clue to the projection of the same illusion, and possibly of the identity its famed originator: The Architect.

And lastly, before providing the Durkin Connection, think on this.

The Dempsey/Carpentier fight of July 2nd 1921, two days before the dated inscription upon the famed final photo from The Shining.

This fight, billed The Battle of the Century, was certainly on the lips of party goers on July 4, 1921. Dempsey was a native Coloradan.

To add to this link is the following series of meta-puns generated by remembering that Stanley Kubrick was a big boxing aficianado (consider the documentary film, Stanley Kubrick's Boxes). Boxing is the central pun. The first part of pun comes from David Sarnoff, who initiated the sale of The Radio Box for Entertainment. This sales push was carefully timed to capitalize on a broadcast of the Dempsey/Carpentier match-up (read about it here). So we have Boxing Match into Radio Box. To reinforce this, it is worth noting that the radio station that lead the commercial vanguard in 1921 was KDKA. Please recall that Wendy's radio communications contain a conspicuous reference to KDK.

To this pun add on that the final photo from The Shining takes place just after Christmas, so we can also infer Boxing Day.

There is more to this that is a bit tough, but not too much so, once your head is around it. A regular cube or box has some interesting properties. In normal 3d a box has seven visible corners. This cube rests upon a foundation of four corners. Seven visible points above four corners. This gives the fraction 7/4. 7/4 is also a common way to indicate July the Fourth, which is the date on the photo of which we speak, from the last shot of The Shining. See figure below.

Now the meta-pun can be completely explicated.

Boxing = Radio Box = Boxing Day (Christmas) = A Box or Cube = 7/4 = July 4th = The Final Photo of The Shining.

These ideas are meaningful in the same context as before, that is, as a revelation of the projection of the false illusion from two dimensions into three. In the final photo, Jack is trapped in a two dimensional world. In the film he is in the model of a three dimensional world. Inside Durkin's we will see Stanley imply the four dimensional world. The hyper world...

and now...

The Durkin Revelation.

Please look for yourself, beginning at 1:37:05 on your DVD release. Durkin tosses his gloves at a small red, white and blue striped box on his countertop. Next he emphasizes the gloves by putting an elbow on top of them. In the next shot of Durkin the gloves are gone!!! This is a hint a the hidden power, the hidden hand, that controls the illusions of the hyper-cube. Please stay with me here.

You must take a look at this very short PDF and these two paragraphs to get the final message of this scene. The PDF discusses how the so called four dimensional world is modeled into three dimensions. This model, called a tesseract or hypercube, was designed by a mathematician called Hinton. It is sometimes called The Hinton Cube.

When scanning this PDF there are only two important points. The first is that a two dimensional model of a three dimensional cube is modeled by piling a stack of thin sheafs one atop the other, until a cube is formed. The second is to take a look at the images of the 3d Hinton Model of a 4d Hyper-Cube. Notice that this 'hyper-cube' is illustrated as squares covered with multi-colored rectangular stripes of varying width. Read the damn PDF, already. It's not even two pages long, mostly illustrations.

If you have really looked at the PDF and other link., you should be recieving the signal by now. The cube/box on Durkin's countertop is a model of a hyper-cube. The red, white and blue color, rendered in multi-sized rectangles, is not so much a comment on America as it is on the date of the birth of America. July the Fourth. 7/4. The Box. The Cube. The Hyper-Cube.

The gloves which disrupt the cube/box, and then later disappear, is the ultimate clue to the power base of this cube, and the identity of it's care taker. The invisible hand that lays claim to mastery of the universe. Just look at the side of the box, with it's eye logo staring from its foremost side. Is it the same eye as What's On the Bill? You better believe it, brothers and sisters!

Just a little later, at 1:42:20 on your DVD, as Wendy riffles through the sheaf of Jack's novel, all becomes clear at last. This pile upon pile of single sheets represents the exact way that the 2d world is modeled into 3d, as described here, about The Hinton Cube.

Kubrick takes us from the 4d Hyper-Cube at Durkins into a deconstuction from 3d to 2d, first as Wendy removes sheet after sheet and, as Jack is finally reduced into 2d in the July 4th, 7/4 photo. Jack in the Box.

Boxing = Dempsey/Carpentier = Radio Box = KDK = Boxing Day = Durkin's Box = Gloved (Invisible) Hand of Power =Eye in the Box = Eye on the Pyramid (Box) = Master of the Hyper-Cube = 7/4 = July the Fourth.

For now, I don't know what else I can say. It is really a question of Cartesian co-ordination. Just where are we, anyway? I think I might have an idea. As for you, my patient friends, I guess you'll have to decide for yourself.

...and I was thinkin' to myself, this could be heaven, or this could be hell.

Peace Until We Cease

The ideas in this article are continued here.

P.S. Readers who do not wish to join collative forum (whoops, I said it!) but who want much more info on The Shining can read my two previous posts, here and here. These two articles include previous thought on The Shining, as well as links to several excellent resources. Or just ask me in the comments to clarify or back up any of the theories posted above. If I fail to respond within 24 hours, I am probably good and dead, or on vacation.