⌘Y ⌘Z

The following is an excerpt of a 27 February 2015 email exchange between Art and Will.

The Large Hadron Collider at CERN

Art:

I should also give you a thumbnail of the movie Street Heat at some point. Actually, why not now? 

Your basic Oedipal crime story...no incest or patricide, though. 

Investigating a crime, finding out that it goes all the way to the top, and, yes, the old cliché, all the clues start pointing back to...guess who...you. 

The original octave bassline motif for the film, which still surfaces in songs like "Arthur White's Theme" and "The Mirror," alternately supports and struggles against a theme of self-identity--that most false, most beguiling, most seductive of all quests. That ideal that causes individuals, ethnic groups, whole cities to collapse in upon themselves. 

Thus the juxtaposition: "Farthing-Ton"
Thus the equation: "High-Man" = "Hymen"
Thus the binary impossibility of "standby": a 0 and a 1 simultaneously 

Self-identity = is is = ISIS? 

Or CERN? Cultural equivalent of a large hadron collider... 

Bedtime!

Will:

All of this computer keyboard numerology stuff--does Steffi introduce it to Farthington and it drives him mad even though she has total control of it? Is this the source of the power exchange, which in some ways is the analog cult becoming digital, a loss of innocence to the cult, Eve's eating of StEve Jobs' Apple? 

Are the additional Y's and Z's Farthington keeps adding to Rustyy's name a cry for help (redo and undo open apple)? 

Going back to the idea of Farthington as the nothingness of Hell, maybe as he preys on Steffi, he ingests something he can't handle. It seems like I've seen that in vampire movies--someone takes poison and the vampire drinks the poisoned blood and dies.