The news of the death of Sophie catapulted her divine image across the Internet in the wake of the transitional 28 January Leo Full Moon.
The 2018 “coming out” of the multimedia boundary smasher artist as the transgender SOPHIE pop star born in Heaven …
… revealed the authentic person behind the SELF creations as extraordinarily down to Earth…
The shocking news of the literal fall of Sophie from the superstar heights came with her manner of death. A plunge into the abyss in the struggle to capture the LUNATION OF THE HIEROS GAMOS following the Uranian surprise of the 24th Solar Return of the Hieros Gamos. It appeared to be the ascent into a proactive holistic art praxis inspired by the Lunar cycles.
The spirit journey to the non-binary Self, the sacred marriage of Heaven & Earth, is summed up in the overlapping of lyrics of the coming out video: “it’s ok to cry/crossover.”
This technique of hiding vulnerability in the face of the UNKNOWN …gains a new face through layering of lyrics has origins in the Beatles evolution during the highly experimental PAUL IS DEAD era 1966 thru the the band’s 1970 breakup.
Fittingly, the passing of SOPHIE has inspired my first writing on this blog since my March article on COVID19 triggered by Ramuntcho Matta sending me an image of his tarot predicting the pandemic. Ramuntcho has long been at the forefront if the international avant garde experimenting with sculpting sound and image.
SOPHIE, Transgender Goddess of Wisdom dying to reach the Transgender Moon…
…is an authentic completed epic narrative, perfectly timed to the rise the zeitgeist encapsulating a paradigm shift from the linear time of CHRONOS to the cyclical time of KAIROS.
This Twitter post after the newsmor her death establishes that Sophie’s coming out as transgender in Heaven is already serving as the icon of a new transgender momentum in fashion.
Traditional family models and structures of control disappear.
Transness is taking control to bring your body more in line with your soul and spirit so the two aren’t fighting against each other and struggling to survive.
It means there’s no longer an expectation based on the body you were born into, or how your life should play out and how it should end.
—SOPHIE’s statements on trans after her 2017 ‘coming out’
Sophie was born September 17, 1986 in Glasgow, in the wake of the shift of the transformation of the music industry due to the introduction of the music video channel MTV. I analyze the horoscope of her life and death here and here.
What encapsulated the zeitgeist surrounding her birth into the face of the transgender icon was the interactive collaborative persona quite literally hidden from the public during a performance where Sophie was the security guard off stage to a transsexual performer. This was the pop version of turn of the millennium stage performances in the New York avant garde, the choreographer creating a figure in street clothes sitting on stage as a representation of the ego observing the Self.
“I felt I could start using my body more as something to express through…and not fight against …and that is really the shift that happened.”
As the multimedia faceless producer suddenly appearing on the pop scene in 2013, the year in which the gatekeeper was cast out for the quantum shift into DYI self-generated media due to YouTube, Instagram and the global ascent of the film festival.
What propelled Sophie’s genius through this evolution of digital technology in search of new forms of containing the post-postmodernism dynamism of opposites was the departure from sampling born from the postmodern cynicism. The generating of endless copies of copies reflected the fin de siècle world weariness while creating an ego barrier to the Uncertainty surrounding the objective truth of holistic being formulating into the central icon of the Hieros Gamos.
Cutting into this moribund process via the sharpened Sophie cheekbone was their creation of a boundary smashing sculptural sound embracing the plasticity of art parodied by Matthew Barney. The atonal Schoenberg lite created the freedom to encapsulate the dynamic of opposites as the rise and fall of the wave into particles of light, i.e. consciousness.
This devotion to quantum mechanics was reflected early visuals referred to as “Homemade Molecular Cooking.” The quest was to break down reality structures serving as obstacles to accessing the formation of the Hieros Gamos in the supra-consciousness.
As if anticipating the role she would play in the quantum wave crashing into particle (as recounted in Fortnight of Quantum Change, left) this new experimental form of creating instrumentals (Elektron Monomachine and Ableton Live) from waveforms inspired the playing with these forms in the cutting up of lyrics.
It all seemed to stress the artificiality of pop music, a postmodern self-commentary pushing into a post-postmodern playing with the dynamism opposites. This was a new approach to manipulating the Kulturindustrie afforded by digital technology.
The innovation of the SOPHIE brand of plastic transparency breaking through this human/transhuman conflict by way of the quantum creation of techno celebrity smashing the sound barriers transcends the post-postmodern duality of “having cake and eating it too.”
In Sophie’s case, it wasn’t cake but lemonade.
Now it is clear, via the Sophie archeology, that the move into commercialism was Self-generated as a quantum leap in a 2015 co-production with PC Music frontman A.J. Kirk. Hey QT is a frothy pastel colored video emanating K-Pop: a visual equivalent of a fizzy drink invented the central concept producing a fuzzy flirty girly video.
The result of this transgender tension personified by a plasticized human emulating the Möbius strip (left) in the laboratory quest for the ultimate fizziness was recognition by the opposing forces of art and commerce.
This is what is known as quantum creation, as presented on the website attached to this blog. Quantum art creates the future reality via the quantum leap afforded by creation.
Yet, from behind the techno curtain came the stunning image of a fully formed artistic genius in 2018 with the face presented for the first time in all its vulnerability of going public.
The time honored craft of pioneering innovative sculpting with sound in multimedia collaborations as the apparatus for exploring the vast unknown realms of an emerging archetype. This establishes a techno- hermeneutics of an electronic epic penetrating the invisible barrier between private transmission of the psyché into the configuration of the Hieros Gamos and the creation of the public icon of Self as the marriage of the inner/outer reflection if as above/so below.
See my other two posts on SOPHIE whose iconic image and art reflects my FORTNIGHT OF QUANTUM CHANGE process of sealing the tapestry of my three decade GESAMTKUNSTWERK launched at the time of Sophie entering an Earth body:
https://www.drlisastreitfeld.com/post/sophie-the-quantum-wave-collapse
HERMENEUTICS OF NEW MODERNISM 