THE BEGINNING OF BEING by Damon Griffith – Part I of II: Juiceball

by Damon Griffith

The Beginning of Being

Part I of II: Juiceball

What is it? What makes us do things and do them in the way that we do? Why did you pick out that shirt? Why would one go by “Mike” instead of “Michael”? Why did you choose the blue toy? The answer is juice. Lots and lots of juice.

At the core of each of us is an ever expanding ball of juice. It’s many different kinds of juice for everyone, but it’s still juice. For the majority of us, it is at all times expanding and contracting, building and amassing, constantly releasing. It can’t help but build up, and it has to release. If you don’t let some off now and then you can get a juice back-up. You don’t want a juice back-up. Unfortunately it happens all the time at great detriment and expense. Fortunately for all of us, there is an element of control.

Surrounding this ball of juice is a thick layer of muscle. This layer is what holds the juice together and controls its release. It’s what makes it a “ball”* of juice rather than free floating juice in the atmosphere, spilling out all over the place getting everyone all sticky. Without it you would lose juice at an alarming, possibly fatal rate. It is this muscular layer that controls both the release of built up juice and the intake of new juices from the world around you. The device that this mechanism uses to regulate this juice flux is a complicated and exciting system of tiny sphincters acting as pressure release or intake valves. What controls the opening of the sphincters is an intellectual process of choices often based on some sort of outside stimulus, i.e. a pair of pants you like, a haircut or mustache, saying hi to a friend or go-ta-hell to a bitchy bus driver, or making love, art or music.

The ball of juice is also segmented like an orange or some sort of spherical worm, and each segment honeycombed like a juice-filled beehive. There’s bigger segments and smaller ones. Some segments may be filled with green juice, some with blue juice, or red. Some with a foul smelling juice that nobody appreciates, and some with an effervescent bouquet and a pleasant aftertaste. There might be a music segment, or a clothing and appearance segment, one for the language that you use, or the company you keep; all with their own set of responsive sphincters just waiting for the right corresponding stimulation. A build-up of juice is detected, the intellectual process chooses a physical catalyst for the opening of a sphincter in the segment where juice is extra prevalent. An exit sphincter is opened, juice comes out, pressure is released. Aahhh! Or depletion of juice is detected. One seeks out a catalyst for opening an entry sphincter. Juice gets in and replenishes. Oohhh!

There are various ways that they work together. For instance, most likely everyone has a segment devoted entirely to facial expressions. We couldn’t communicate without it. But let’s say someone, for reasons we mustn’t judge, has a sphincter in this segment the trigger for which is making scary faces at passersby. It would respond a particular scary face that that person is fond of making. Therefore, if they choose to commit this action**, an exit sphincter is opened in that segment and a bit of juice gets out. Likewise, if any of the aforementioned “passersby” have an entry sphincter that is triggered by scary faces coming from complete strangers, it relaxes to allow intrusion of the scary face juice . If all goes well, the recipient of this act will respond to this new influx of foreign juice by a releasing juice from the scary-faces-coming-from-complete-strangers exit sphincter in their facial expression segment. This subsequent release of juice is manifested physically by a series of expressions or gestures presenting themselves as congruous to the nature of the juice expelled. (Some juice is positive in nature, and some is negative. Some pleasant, some frightful.) Having done this, the initial incipient of this process, the scary face maker, becomes the final recipient of juice. It could even be that the scary face maker in this scenario was seeking in influx of new juice to begin with, having detected a depletion in one sector, and catalyzed its refilling by making a face at a stranger and getting a juicy reaction in turn.

The music that you enjoy listening to is giving you juice that you willingly accept because you have a sphincter that naturally relaxes to receive it. Then some music has the opposite effect. It may bathe your sphincters in a juice that you find to be objectionable and distasteful, sometimes causing all receiving sphincters to close tightly, straining to resist the intrusion of an offending passage of music. For others you may simply have no corresponding sphincter at all. This sort of thing is also largely what influences the nature of juice expressed in the creation of music. The musician is spewing juice that is a combination of juices ingested. Red juice gets in, blue juice gets in, purple juice comes out. A creative musician manipulates the sphincters to create different hues and combinations. Make a darker purple, red with a blue swirl, or a kaleidoscopic amalgamation of the many properties in the repertoire of juices. They all represent themselves as different progressions of notes and accents, of rhythms or voicings; a chant or a chord, a particular beat. The choice of whether one plays the guitar or the bassoon, classical or jazz.

The clothes that you choose to wear can largely be a catalyst for the expression of juice. Even if they are simply chosen from a bland selection of contemporary mainstream fashion, if you have a preference for one brand or look, you are releasing juice. Some may not have a large section devoted to this and little is gained or lost by just wearing what the wife has picked out at the mall, while others are largely driven to expel mass quantities of juice from this region by wearing specific clothing or hairstyles. And within that, some prefer to wear what they themselves have picked out at the mall, and some only release proper juice by doing something more creative.

Different activities for different people can serve as more effective sphincter stimulants than others. Performance is often a favorite because one gets to open many sphincters at once (and some of the bigger ones too) and release a lot of strange juice that isn’t gotten rid of easily in daily life without loosing friends. At the same time, that juice is being received by a room full of willing sphincters who are in turn relinquishing some of their juice back to the performer. Most performers have experienced shows where they were juicing up the place and nobody was taking it in. The end of the night found juice everywhere and the performer just feeling drained. Likewise, and generally what keeps the performer performing, there are shows where a willing receptacle of juice balls was readily able to ingest juice while overflowing with juice of their own, which the performer is then able to let in, co-mingle with his/her own juice and subsequently have more and different juice to expel. A Transmografical Juice Exchange, if you will. Whereas some performances can be flat and juiceless for everyone involved.

So, you see, the outward shape and character that makes a person distinguishable from any other person, the thing that gives form to an individual being, is a complicated puppetry of sphincters and a constant consumption and secretion of juice. It is important for us to realize that reality is one huge collection of juice filled balls, all sliding around and getting juice all over each other, and creating the complex system of give and take, creation and consumption that we all are a part of in the evolution of perception. But we’ll get into that in Part II: In the Land of the Blind, the One Eyed Man is Insane.

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