The ravens burst into the air.
The rats blast out of the walls.
The sky drenched in bloody red
falls off the sky.
omen.
Behold the man.

The witch/shaman - not so much prediction as a setting into motion of that which will happen. The film coming before - setting up the action.

There is a relation to scripting or coding. The shamanic program is written, later to be executed by hardware that knows not what it does; Messages divined by blind men's stick antenna in the ruined city (post blast). Rats running.

How can a forest move?

Magic/substance/making sense and visibility:

Moving on from software as substance to this other doubling realm, this other substance which does include software within the intentional transmission, software to construct networks for this nebulous bush/tree/forest manifestation to come.

Life coding gathering.

+ Disembodied coded systems made evident in sight and sound. Extraction.

She washes and washes.
The water basin is empty.
She washes and washes.
The blood flows off the body.
The Lady Supreme conceives a dead baby.
The Lady Supreme concotes a conspiracy.
I wash I wash.

Washing imaginary blood from the hands of Lady Macbeth. The nowhere spider web forest is exactly this opening (of our segment) film image.

One last reference in film - the film image as engendering the real (reference Gravity's Rainbow - ghost or war-fodder children fathered by a repetition of an on-screen act/silver screen sex act.) Becomes a web of connection - Berlin (Gravity's Rainbow), spider web castle (Macbeth, Kurosawa).

+ Imagination of a city/spider web forest. Some kind of city sedimentation distinct from a mapping. History as film.

The lord his army face-off.
The arrows hits … 1, 2, 3 …
come the downpour.
He scrambles onstage.
An act of his own.
A stage all to himself.
Raindrops keep falling…
They keep fallin'

A thousand arrows falling. Falling antenna/tree man - perceived central threat - pierced by a thousand arrows.

The betrayal of reality which is (internal) crash. A question of interface (to the central), arrow markers pointing the way in city-scape.

+ Multiplication (language arrows), fall and crash of central state antenna in a flailing silver foil cloud reflecting. Body as antenna pierced in close-up.

He falls in arrow stitched armor.
He bows down the thundering ground.
The silence descends.
The air stills.
Rain has stopped.

The establishment of an alternative network (W.A.S.T.E) however fictional, transmission from rooftops, massing of small devices, detournement of city structures for emission. Extrusion of another EM and physical space (fiction).

The rebellion is marching in
branches and antennas.
Swarming an infested urban site,
spiderweb of deep web forest.
Tunneling through the wall,
cutting through the air,
stealing the act.
How can a forest move?

A mobile forest-as-camouflage on the move through/as the city itself, meshing with Electromagnetic substance. An unintentional deceit (world interface) matches the program or prediction.

The moving forest is not divine, bridging magic, but some kind of use, a deceit working in another way - as also becoming magic through no intention.

A nebulous forest of antennas.

The forest of spider antennae, these camouflaged shamanic branches in radio city space - a hidden/underground city made evident with the antennae sticks. PD swarm/forest on the move and reforming to conspire against the castle central.

Duplication and duplicity of antenna (code broadcast conspiracy).

Repetition: how can a forest move?

+ Nodes and swarm states. Active examination of massed EM substance.

The dust settles.
The DIY kingdom replaced.
The legend recycled.
The witches rejoice.
The chanting echoes.
The castle remains.
Pink light in the midst.

The conspiracy returns and thus remains. The grey castle remains. Pink light revelation. After the play - the removal of the duplicitous double (reality) which is both author (the author of the script is exposed) and the third person (he or she said/did this). Author as life coding witch deceiving herself.

… here time changes into space.

[Parsifal. Quoted throughout VALIS [Philip K. Dick]]