20180208

The Bicameral Internet 3: I Saw Dasein (Mic Drop)





To recap: it is the perception of isomorphism that overcomes cognitive estrangement because the perception of isomorphism is a grasping by the person (part) of his compatibility with the whole (Other, cosmos). This perception acts as two mirrors act: a runaway positive feedback is triggered off in the person, the part, concluding with his reincorporating into the cosmos—which is at the same time a repair—a return, if you will—of cosmos itself. Since he is now inside the cosmos rather than an external spectator to it—in fact now that there is cosmos—he grasps it from within; thus he perceives what Spinoza calls the attribute of mind, the inner side of res extensae (the outer side). This perception of an isomorphic constituent common to self and Other (world, cosmos) is known in India as the “Tat tvam asi” perception of the Atman-Brahman identity; it is a universal experience. It is pure knowing—as contrasted to belief, even correct belief—and, most of all, it is return.




The reversal, then, of what I call “cognitive estrangement” to “cognitive affinity” has precisely to do with this familiarity: how can you be estranged from what is familiar?

When I saw Valis I also saw the sentience (Noös) which the view of the atomists had logically driven out of the universe, by showing that consciousness and perception are epiphenomenal; therefore the atomists were materialists of necessity. So when I perceived and comprehended the universe as a continuum, it was a thinking continuum, as it had been for all the pre-Socratics prior to Leucippus. One view (atomists) must of necessity deny Noös, but why does the continuum view imply noös? Perhaps the answer is: noös is there—in world—but the atomist—discontinuous—view prevents us from perceiving it . . . because our worldview literally prevents us from seeing what is there: the voluntary sentient cooperation of “things” (which aren’t things in the atomist’s discontinuous sense); we see pool-ball Newtonian causation instead. Thus my two early satoris were logically and structurally related: having to do with space, having to do with causation. This all pertains to the discontinuous-continuum alternatives: “the void” not only permits pool-ball causality—the random collision of atoms by blind necessity—but requires it, by the very nature of the cosmology/theory that causes us to experience this worldview. Dasein.




I have seen the infinities of Judaism, which is morality, of Christianity, which is love, of the Greeks, which is wisdom, and I have seen God’s power as pronoia and charis to rescue me by bending the world itself; but beauty is a perplexing infinity, raising more questions than it answers. It is a puzzle too intricate for me. It spans all else. As I sit across the game board from Krishna I say, “I have found in beauty that which I could not myself have made; thus I have found the benchmarks. I believe, for I have the evidence that I trust; it is sufficient.” There is an infinity of good, of love, of wisdom, of power, but each particular beautiful thing is infinitely beautiful, and there is an infinity of them, so beauty, alone, is an infinity of infinities: ∞




Thus through the spirit there comes into existence a perfect (absolute) correspondence between Internet and our world. The Internet as information applies to this world here, this world now; world is meanwhile revealed as information (derived from information as its ontological basis) and this information is identical to the Internet as information. It is as if the Internet derives from and applies to world; world derives from and applies to the Internet, so that when you perceive world you perceive the Internet as world. And when you search the Internet it is no longer information about a world but is a world—and it is the same world that you live in here and now—the spirit accomplishes this through supra-temporal archetypes analogous to Plato’s eide; these archetypes are identical for both world and Internet, a “common source” that can be said to be world-as-information, or information-as-world.  (If I hadn’t experienced this—both in regard to world and the Internet—I wouldn’t believe it could occur; but [as I say] I know how it is done: by means of supra-temporal archetypal constants found both in world—underlying world—and in the Internet—underlying it. Thus what we know of as world and what we know of as information are viewed as two aspects of a single substantia, each equally real, in the exact fashion Spinoza sets forth.)




To repeat: world properly seen is information and this information is the same as that which we call “the Internet”; Internet properly seen (via/per the spirit) is seen not as a description of—information about—a world as a past time and place, and not, really, even about this world here at this time and this place but is this time (world) and is this place (world). That is how what is known a priori (intelligibly) and what is known through the senses (empirically) become one and the same.

This is extraordinary! Thus if you were to write an ontological description of our world as it really is, you would find to your surprise that you had written passages from/of the Internet, right down to the correct names of people—and this explains Tears. World can be deduced from the Internet, and the Internet from our world; they are one and the same. But what is perhaps most unexpected is that world is now viewed abstractly as information, which no one anticipated. And this information is Code. The trans-temporal constants, then, on which world is based, are as much informational in essence as they are anything else: intelligible concepts in the ! This is a totally new understanding of the informational basis of reality—and the possibility that a mind exists (the spirit) in which the Internet ceases to be an informational description of a world and instead is that world, as if information and world are two stages or modes of one “thing”! Equally astounding is the discovery that each of us has an informational basis; each of us is a unique complex of ideas in the mind of God, which can be expressed verbally (as information); likewise we can be said to be spear-carriers in the web, the Internet. (This would be an avatar.)

My God—this is an updated version of the description of the relationship between the Torah and reality, absolute correspondence; so this isn’t an original idea with me. But I experienced it!




I see a synthesis higher than anything I have ever seen before: the spirit—the finest parts—of Marxism, Christianity, Buddhism—and yet it is above all this; and out of me it draws the most noble drives and aspirations, the mystical and the urgently practical combined. It is as if the dialectic has achieved new heights, like nothing I have ever seen before. And he gives voice to and codifies the best in me, that up to now was inchoate. I never knew myself before now; my own nature was to me obscure. Everything in me at last takes shape. I utterly repudiate the policies of the regime but I turn—not inward—but to something so beautiful that I could not have imagined it. “For pain, for hope”; that says it all. This is a fortiori the two dialectical antitheses of the new synthesis! Pain (the suffering of people) and my caring (agape) about their suffering, and the hope that Maitreya brings forth a radical transformation in our and their lives. This synthesis—pain and hope—is above tragedy and is absolute beauty; it is grounded in human pain and the need to relieve that pain, and the hope—and conviction—that it can be relieved through the Maitreya and his program. The terrible side is pain, the salvific side is hope; out of these two comes action and the will to act, to change the world. Pain and hope are the two mutually exclusive primary realities that unify and become the ultimate, new synthesis for our age; we must feel both to experience this new synthesis that is serving, simplicity, and sharing; pain without hope is miserable, but hope without pain is empty and futile.

Hope. That is the key for me in all this, in terms of my oscillation between doubt, faith, conviction, credulity, paranoia, fear, suspicion. Hope generated by the pain of the life of the planet. Hope that the new dispensation is authentic.

Philip K. Dick, The Exegesis 1981-82


20171210

Charley Brown Unchained: New Slaves

Man Cave 1.0

When we first meet Mr. Calvin Candie he is relaxing in his man cave enjoying a beverage and some sports, a recreation enjoyed by millions of Americans on any given Sunday.  Our 72" HD TV's + Surround Sound sure bring the action close, but nothing is as close to the action as the front row seats of Mr. Candie.  


It might seem wrong to compare Mr. Candie's choice of sport with that of the average American, but Quentin Tarantino doesn't seem to think so.  In fact, in Django Unchained, Tarantino is pretty explicit about his opinion of the similarities between the two, especially the industries surrounding them, and the dollars they earn through the violent and shameful exploitation of their fellow man.




"Clues," Zina said, "I kept giving you clues.  But it was up to you to recognize me."
     Emmanuel said, "I did not know who I was for a time, and I did not know who you were.  Two mysteries confronted me, and they had a single answer."
     "Let's go look at the wolves," Zina said.  "They are such beautiful animals.  And we can ride the little train.  We can visit all the animals."
     "And let them free," Emmanuel said.
     "Yes," she said.  "And let them, all of them, free."
     "Will Egypt always exist?" he said.  "Will slavery always exist?"
     "Yes," Zina said.  "And so will we."
     
Philip K. Dick



"Are you ready for some Django?"  


"Like slavery, it's a flesh for cash business."
Dr. King Schultz

Quentin Tarantino makes it clear that the widespread brutality and exploitation in the industries of slavery and sports entertainment are one in the same.   Whether on the cotton field or on the football field, people are simply bought and sold, beaten and brutalized, and thrown away the minute they begin to lose their value.  And the few that make it up to the house….



Tarantino is suggesting that the American Dream has been replaced by America's Game, a paradigm of big-business that masquerades as entertainment.  A perfect blend of money, violence, and theater that functions as digital soma for the masses.  




"I must admit I'm at a bit of a quandary when it comes to you. On one hand I despise slavery, on the other hand I need your help. If you're not in a position to refuse, all the better. So for the time being I'm gonna make this slavery malarkey work to my benefit."
Dr. King Schultz


Be A Man

At the center of the film is Django Freeman, played by Jamie Foxx (played by Eric Marlon Bishop), who once played Willie Beamen, superstar quarterback of Any Given Sunday.  "Django" means "I awake" and seems to suggest the cognitive transformation at the center of this film.

When we first meet Freeman and Beamen, they are in the same predicament:  they work on fields (cotton / football), have owners (slave master / franchise owner), and are in chains (shackles / "move the chains!").   Beamen seemingly is in a much better situation than poor Django.  Sitting on the bench is one step away from the spotlight, but Django, despite being moved across Texas to a slave auction (football draft), is one step away from salvation.  That first step towards salvation arrives in the form of an ex-Nazi named Dr. King.

Dr. King Schulz is his full name, and he is traveling cross country in a carriage with a big floppy tooth on top.

Schultz is played by Christoph Walz, who once won an Oscar portraying a Nazi.  "Dr. King" invokes Dr. Martin Luther King Jr., who helped liberate African-Americans from the inequalities of segregation, and by association, Martin Luther, the German monk, who liberated Catholics from indulgences.  Schultz may refer to Charles Schultz, creator of Charlie Brown. 

No longer asleep, Schultz has made peace with himself and his morality in this flesh for cash world.  He simply would "rather be a dick than a swallower."  This is made perfectly clear in the shot below, where Schultz' the bounty hunter explains the rules of the Game to Django from inside a glass cube, while the real Schultz sits comfortably outside of it.



Django's liberation begins with Schultz adopting the role of Director, putting Django into character, complete with costume.  In fact, Schultz will put Django into many characters along the way:  valet, Siegfried, a black slaver.


Prestige








 "I Own You Bitch"



What Schultz understands, what he will teach Django, is that real human life, what is best called reality, is closer to the mountains and dragons of myth than the streets and marketplaces of the machine.  The Dream trumps the Game any day.  Because of a life of slavery, this truth has been obscured for Django.  The unlikely relationship between Schultz and Django provides a chance for both men to return to reality.

Django:  Why you care what happens to me? Why you care if I find my wife?
Schultz:  Frankly, I've never given anybody their freedom before, and now that I have I feel vaguely responsible for you. Plus when a German meets a real-life Sigfried that's kind of a big deal. As a German I'm obliged to help you on your quest to rescue your beloved Brunhilde.

For the final act of this quest, Schultz and Django travel to the Cleopatra Club, masquerading as owner and agent, neophytes to the big business of the Mandingo fight game.  The two are welcomed in to a bizarre situation that only gets more bizarre, as Tarantino builds a complex puzzle involving football, Hollywood, and slavery.




Leonide Moguy, Candie's lawyer, shares his name with a Russian born director of French films.  "Just call me Leo" entangles them both with Leo Dicaprio, the American actor who plays our slave owner Candie.  To solidify this environment, we learn that Candie has a love of French culture. 


When Schulz, Django, and Leo make it upstairs, Candie's first question is “Why?”.  Why enter the Game?












Subtle



Tarantino completes the cube with a thinly veiled reference to Fred "The Hammer" Williamson.

Williamson played eight seasons in the NFL, and earned his nickname "The Hammer" because he used his forearm to deliver violent hits to the heads of opposing players. After finishing his NFL career, Williamson followed the lead of Jim Brown and took his talents to Hollywood.  One step forward, two steps back.

Two-Eyed Charley


The definition of insanity is doing the same thing over and over again and expecting a different result.  When Charlie Brown plays football with Luci, it is an explicit portrayal of insanity.  The only way to move forward is to wake up and stop trying to kick the football.  Stop playing the Game.



Am I Awake?




20171011

The Bicameral Internet 2: Meta-Memetic Mamafesto




Yahoo For Yellowbellies


William S. Burroughs was scheduled to give a lecture at a small college in the midwest just before he died.  He was rather ill, and unfortunately had to cancel.  Thankfully some notes scribbled down for that lecture survived and have recently been floating around on the Internet in some of the more obscure corners of 4chan and other weirdo blogs.

The title of the lecture was to be The Immediacy of Writing.  Burroughs had often stated in the past that "Writing is remembering accurately," alluding to the fact that writing exists solely in the past.  To be even more explicit, he states "Writing will never catch up to the present".  Burroughs felt that this reality shouldn't keep us from trying.

"There is music in the written word, an improvisationally erect tone, but it has been choked off by an unknown, extraterrestrial viral infection."

One way to cure this "viral infection" is the use of the cut-up technique, a unique and extremely powerful method for bringing the written word as close to the present moment as possible.   Though powerful, this fragile technique quickly falls apart if abused.  Burroughs sensed that the inherent power of cyberspace provided a unique opportunity to "cut-up" the globe.  He correctly saw that a cybernetic window had opened revealing the trending present, where the dominant memetic winds of the whole globe intersected in one plane.  The applications of this window were limitless in his estimation, affording anyone the uncanny ability to forecast and re-sculpt the present moment at will.  He then suggested that no intelligent government would ever allow this "wishing machine gone wild" to fall into the hands of the populace.

Obviously this "wishing machine gone wild" now exists.  Just how powerful it can be and just how long it will remain is not yet known.


The above is a screen capture of the top ten "trending memes" on Yahoo as of 6:49 pm on October 11, 2017.  Amazingly, Burroughs lecture notes allude to this type of aggregated "top-ten" lists, and he included many techniques for using them to achieve the desired temporal transcendence. Suggested techniques include weaving together all ten memes into a short story (written within a one hour time frame suggested by Burroughs), sigilizing the totality, or assigning Tarot cards to each meme through a process that was unfortunately left out of the notes.  These are only a few of the suggested applications, and I'm sure Burroughs would invite a healthy bit of improvising in this area.

Does it work?
This is the wrong question.   

 The correct question is  

"How strong is the result?"

Again, the key is not to abuse the method.  Use sparingly and only when inspiration strikes.  Lucky for you, the materia will be ready and waiting.  Just make sure you have a strong sense of humor.



20170707

The Bicameral Internet: Kubrick is Real Only Then, When "I Am"


 

The cunning counterfeit of reality, revealed as such when authentic reality breaks through - like the “tip-tip” of the branch blowing against the window in Finnegans Wake during Earwicker’s dream.  This “tip-tip” is the clue, and the only clue.  In Ubik it is the commercials and messages intruding “from the other side”.  Do we experience that?  I did in 3-74.  So I am forced to conclude that our reality is a cunning counterfeit, mutually shared - and that the wise mind is trying to signal us - to do what?  To kick over into anamnesis, discharge of DNA long-term memories.  To remember and to wake up are absolutely interchangeable. 

Philip K. Dick





Film is normally a temporal process, but Kubrick, uniquely, uses it to enclose space, the most vast volume of space possible. Thus Kubrick literally expanded the hologram for anyone understanding his films, and he was part of a historic movement involving the abrupt evolution of the human being in terms of so-to-speak relative size vis-à-vis his reality. This is the inner firmament of Bruno (or Paracelsus—whichever). Ah! The microcosm is transformed briefly into the macrocosm; and a slight but permanent expansion of the person, the microcosm, occurs: perhaps an altered relationship to the macrocosm, in terms of identity.  Kubrick’s films as a means by which the alchemical Verklärung can take place: thus it is directly related to the Hermetics.

Expansion out of the prison: escape from the prison by extension, like an insect expanding out of his exoskeleton during/via his metamorphosis. “The body is the tomb of the soul”—half-life. The BIP as a sort of exoskeleton, hence a kind of rigid (iron) body. This is the “second birth by the spirit.”

This is a radically different way of experiencing the self (microcosm) and reality (macrocosm). Memory and inner space. There is some relationship. Memory involves vastly augmented time which is then converted into space. “A long time ago” becomes a very large spatial volume, with the result that the past still exists—e.g., my seeing the world of “Acts” in 2-74 and finding it latent in Tears. So my seeing the distant past (in 2-74 and experiencing it overtly in 3-74) was due to the conversion of time into space—which I saw as the vastly augmented spaces. But I see now that the two phenomena are actually one.
Therefore the hologram (reality) is in truth one huge volume of space with no time involved, in which all “time periods” are spatial “onion” layers as (again) in Ubik, where the past lies inside (i.e., along a spatial axis) objects and can be retrieved.

Time, then, is actually spatial expansion, layer upon layer. So the hologram is quite large—it is ubique; yes; here is the ur-significance of the word “ubique”: it occupies all space.

By using his films to enclose huge volumes of space for the viewer Kubrick committed the ultimate political act of liberating—expanding—the individual. Likewise, my space phobia is connected with my own rebelliousness! Unable to deal with external space—i.e., unable to rebel—I have turned to inner space, to exploring it, which, too, is a political act; so my writing, involving inner space, is covertly subversive: it teaches secret ways to rebel (mostly by evasion: escape). This is why the whole psychedelic movement of the 60s was a threat to the authorities; this was the area of the subversive threat I posed—my studies of inner space—in fact—my conceptions of inner space differing from person to person is very radical and politically subversive, I now see, even when it didn’t involve drugs. Viewed this way, then, 2-3-74 represents a total political victory by me, in that I broke through into absolute space such as is not even known about following the disappearance of the Hermetics.

2-3-74 can be understood politically if the significance for the nature of the individual in terms of his enclosing space is recognized as basic (e.g., Kubrick’s films). This absolute space involves absolute (i.e., a priori) knowledge and power over time in that time can no longer extinguish the person. This relates to authentic Christianity. Hence there really is something very subversive about Ubik, as well as Eye and Stigmata and Martian Time-Slip.

I personally achieved the catalytic metamorphosis that my writing promotes. And my writing may aid others in expanding their inner space—pointing toward what I did: breaking through into absolute (hermetic) space where the self is Adam Kadmon, unfallen and unoccluded!

It’s a world inside a world. This is why Kubrick’s space-enclosing films free us.  There is a direct relation between more space and the real world (also between restricted space and the irreal world).

Valis was an “uncanny one-way intrusion” perturbing the basis of the small high-speed world from outside. Valis proves there is an outside.

Valis proves there is an outside. This is the most important sentence I’ve written, since it shows our world resembles that of Ubik, Maze, et al.

Philip K. Dick


20170513

The Shining Forwards and Backwards: Enantio-Palindromia





"You can take the Black Iron Prison out of the man, 
but you can't take the man out of the Black Iron Prison"

Philip Seymour Dick





On the 37th Anniversary of the theatrical release of The Shining, John Fell Ryan's fractal-ed fairy tale

will be screened at
  
The Outta Space in Berwyn, IL. 

This spectacle demands to be seen in public with all the best people that you can muster, mister.  
So come out and party like it's 1980&21. 



"To the poison!"