Overlooking The Perilous Chapel 3: Doc-Man

A Sirius Man Eats Whole Wheat Bread

Samuel Beckett wrote of James Joyce:  "To Joyce reality was a paradigm, an illustration of a perhaps an unstatable rule…It is not a perception of order or of love; more humble than either of these, it is a perception of coincidence."  Before we can comprehend reality, we must perceive it accurately, we must examine closely.

Upon closer examination, the apparent continuity error in the game of chess between HAL and Poole in 2001: A Space Odyssey was not an error, it was simply a bluff made by HAL to gauge the perception of Poole.   This truth, although in plain sight, was buried by Kubrick, and would only be discovered by the majority of his audience until many years later.  It appears Kubrick, like HAL, was also bluffing.  Was it for the same reason HAL bluffed Poole?  To gauge the perception of the audience?  Sneaky bastard.

Joel and Ethan Coen are a couple of sneaky bastards too.

There is nothing wrong with simply appreciating A Serious Man as a dark comedy, or enjoying 2001: A Space Odyssey as an epic special effects driven science-fiction film.  But the Coen's are, as I said, sneaky bastards.  And like Kubrick, they are offering us something much more profound than just a comedy.

In A Serious Man, Lawrence "Larry" Gopnik and Arthur Gopnik are brothers, who both involve themselves with extremely complex and intellectual exercises.  One embodies the madness of artistic creation, the other the burden of proof.   

The Mentaculus

Arthur is a lonely lumpy soul who spends his time gambling, lurking, and obsessively scribbling into print a work called The Mentaculus, a title that conveys a calculus of mentation.  It is his "probability map of the universe", and is written in a language that seemingly only makes sense to Arthur.  One quick glance and it looks as though poor Arthur is quite ill, mentally.  Yet it reminds me of something else written in a language no one can seemingly understand….

James Joyce, one of the most highly respected artists of the 20th century, spent the last 17 years of his life working on what he called his Work In Progress, which eventually became Finnegans Wake.  Finnegans Wake is a work of literature that makes absolutely no sense to 99% of the people who attempt to read it.  The other 1% claim, rather loudly, that it is a work of genius.  It would be a whole lot easier for the majority to dismiss this book if it weren't for the fact that so many intelligent and respected people populate the 1% who revere Finnegans Wake.  What the hell do they know?  What do they see that the rest of us can’t?

It is possible that The Mentaculus is Arthur’s Work In Progress.  Unfortunately, Arthur is living in Minnesota in the 1960's, and cannot command the kind of audience that Joyce did.  We don't even know if Arthur has ever allowed anyone else to read it.  Ironically, he lives with the one person who might make sense of his masterpiece, his brother Larry.

Schröedinger's Cat

Larry is more successful than Arthur, he has a wife and two children, a career, and a solid social identity.  

Larry is very intelligent, a Professor of Physics, and spends his time lecturing on the laws and theorems  calculated by people even smarter than he, yet he remains the epitome of "those who can, do, those who can't, teach."  Larry is shown lecturing on the Schröedingers Cat thought experiment, and it is a good reflection of Larry's life.  Larry is both Teacher and Student, Married and Alone, Faithful and Faithless, Found and Lost.  It all depends on the observer.

Schröedinger's cat is also a good reflection of the Standard Model of Quantum Physics at the moment, as it remains both Fact and Fiction.  The calculations and equations of quantum physicists promise a unified theory of everything, an explanation for the existence of time, space, and the universe that we live and die in.  The mathematical equations have promised that matter is composed of certain scientifically observable objects, the most important being the top quark, the bottom quark, the tau neutrino, and the Higgs Boson,  So far the bottom quark (1977), the top quark (1995) and the tau neutrino (2000) have been discovered, just like the calculations have promised.  But the Higgs Boson remains the elusive companion of this group, and is still referred to as the Hidden Variable.  We can't claim the Standard Model to be fact until this is finally observed.

"In 1963, when I assigned the name "quark" to the fundamental constituents of the nucleon, I had the sound first, without the spelling, which could have been "kwork". Then, in one of my occasional perusals of Finnegans Wake, by James Joyce, I came across the word "quark" in the phrase "Three quarks for Muster Mark". Since "quark" (meaning, for one thing, the cry of the gull) was clearly intended to rhyme with "Mark", as well as "bark" and other such words, I had to find an excuse to pronounce it as "kwork". But the book represents the dream of a publican named Humphrey Chimpden Earwicker. Words in the text are typically drawn from several sources at once, like the "portmanteau" words in "Through the Looking-Glass". From time to time, phrases occur in the book that are partially determined by calls for drinks at the bar. I argued, therefore, that perhaps one of the multiple sources of the cry "Three quarks for Muster Mark" might be "Three quarts for Mister Mark", in which case the pronunciation "kwork" would not be totally unjustified. In any case, the number three fitted perfectly the way quarks occur in nature."

 Murray Gell-Mann

Arthur and Larry (Art and Law), two very different brothers, are actually both searching for the same thing, the hidden variable to life, but all they have to show for in their search is loneliness and divorce.  It is said that it is always darkest before the dawn, and for Arthur and Larry, it's getting pretty dark in Room 2³ of the Jolly Roger Motel.  

"Arthur, you've got to pull your self together"

"It's all shit Larry.  It's all shit."

"Arthur don't use that word."

"It's just fucking shit."

"Arthur."

"Look at all that Hashem has given you.  What has he given me?  He hasn't given me shit."

"Arthur, what do I have?  I live at the Jolly Roger"

"You have a family.  You have a job.  Hashem hasn't given me shit.  He hasn't given me bubkes!"

"It's not fair to blame Hashem, Arthur.  Please.  Sometimes….please calm down.  Sometimes you have to help yourself."

"Hashem hasn't given me shit.  Now I can't even play cards."

We have two brothers embracing in the void of an empty swimming pool, lost in a world where Hashem, the divine God they were raised with, has abandoned them.  

There is a message next to Arthur, (a sign?),  that is painted on the concrete, a message that neither are paying attention to.  The audience is most likely not paying attention to it either.  

The message is never revealed completely, but common sense tells us that 3 FT NO DIVING is painted on the concrete as a warning to those who would jump into the shallow pool.  Nothing profound.  But a knowledge of James Joyce and quantum physics is not a common sense, it is a rather uncommon sense, and in this scene, seen through a lens informed by Joyce and quantum physics, the perception of a very curious coincidence occurs.

James Joyce uses the symbol "Ǝ" in the architecture of Finnegans Wake to represent what the Buddhists call "void" and the Taoists call "wu-hsin" or NO MIND.  This NO MIND represents the "class of all possible minds", meaning the aggregation of all possible minds.  This mind does and does not exist, like that damn cat, and is best expressed in the paradoxical language of mystics and the mathematical equations of quantum physics.  Robert Anton Wilson in his brilliant essays on Joyce equates Joyce's Ǝ with the Hidden Variable of quantum physics.

If we allow ourselves to fill in the missing letters through this lens, this message, written on the edge of a void, might be trying to say:

Ǝ

NO 

DIVINE

WHY?  Well, we have two brothers embracing each other, one a poor man's James Joyce, the other a poor man's Schröedinger, and both are lamenting their relationship to the divine.  The message is both pessimistic (NO DIVINE = NO GOD) as well as optimistic ( Ǝ NO DIVINE =  the Hidden Variable, the class of all things Divine is right by you!).  The Coen's have planted a message that seemingly embraces both the pinnacles of artistic and mathematical expression, a message buried as deep as the bluff of HAL.

But do the Coen's believe that the message is the pessimistic one or the optimistic one?  

There is a clue, another message buried somewhere else in the film, one that is more explicit even though it only appears for a brief second of screen time.  If you are paying very close attention, I think the Coen's are very clear as to their answer, because it seems that the elusive companion of the quarks, the Hidden Variable of the Standard Model of quantum physics is as close to Arthur and Larry as the coincidental message painted in black by the side of the pool.  It's right there in The Mentaculus.

A Really Big Shew Pt. 4: The Other Side

In film, a continuity error is a mistake that eludes the careful eye of the director.  Even after watching a scene dozens of times, these errors often go unnoticed for years.


Stanley Kubrick was a perfectionist as a person, as a chess player, and most famously, as a film director.    So why are there so many continuity errors in his film The Shining?  Many of these errors are well documented here, here, and here.


There are many theories as to why such a well known perfectionist allowed so many imperfections in The Shining, and I agree with those theories that contend that these continuity errors are not in fact errors, and should not be considered imperfections.   They are deliberate choices by the director.  I call these deliberate choices chickens.


It has been established that Stanley Kubrick incorporated his understanding of the writings of Marshall McLuhan into 2001: A Space Odyssey, so it is no leap of faith to suggest that Kubrick, the obsessive-compulsive perfectionist, read The Gutenberg Galaxy cover to cover several times.  I believe he knew about the magical chicken that, in only one second of screen time, helped to illuminate the divide between how literate man and non literate man experience film.


The appearance of this chicken can be considered a type of continuity error, an unintentional element that became part of the film without the intention of the filmmaker.  Remember, the literate man literally could not see the chicken, and had to watch the film frame by frame to be convinced that it was there.


But to the non literate man, the chicken was the star of the show.


I believe that Kubrick understood this and began to recognize that his audience was comprised of the "literate" and the "non literate", and started experimenting with a kind of intentional continuity error, a deliberate chicken, that was obvious to some and invisible to others.


Kubrick makes use of the chicken during this scene in 2001: A Space Odyssey:

Let's call those that have little or no knowledge of the game of chess "non literate" and those with a deep knowledge of the game of chess "literate", and assemble an audience of both to watch 2001.  If we were to stop the film at the end of this chess scene, and ask the audience what they saw, we would find the a similar result of the study in Africa.  The "literate" man would mention the flaw in the winning move, a “chicken” unnoticed by "non literate" man. 

"To convolute McLuhan, in 2001 the message is the medium."

The general consensus of the "non literate" audience would be that Frank and HAL were killing time on the ship playing a game of chess, a game which Frank loses.


A "literate" audience would have more to say.  They would mention that the game of chess depicted between Frank and HAL does not follow the established rules of chess, a fact unnoticed  and unmentioned by the "non literate" audience.  This is our chicken.


If we believe that HAL’s bluff is an accident, a continuity error, then it does nothing to further the narrative of 2001.
If we believe the bluff is not an accident, and is in fact intentional, the chicken opens the doorway into a mystery, and the narrative of 2001 comes alive.  This hyper-literate chicken in 2001 was no without purpose.  In fact, it convoluted McLuhan’s non-literate chicken.


Kubrick was an above average chess player with a very deep knowledge of the game.  The game depicted is the master game Roesch vs. Schlage from 1910 which is documented and published.     There is a 0% chance that the inaccuracy of the chess game was a continuity error or that it eluded Kubrick.  


In fact, the comprehension of 2001 depends completely on the bluff.  And yet, it is hidden from the majority of the audience.  Why?  If The Shining is loaded with these hidden chickens, how are they important to the comprehension of the film? 

A Really Big Shew Pt. 3: Chicken of the See

Why Are There So Many Chickens In The Shining?

In the previous post I discussed the "Film Literacy in Africa" study that Marshall McLuhan references in The Gutenberg Galaxy.  At the center of the study was a short film shown to non-literate tribal natives in Africa.  The film was designed to demonstrate the proper techniques for removing standing water, and actors were filmed doing so in a very slow and deliberate fashion.  When asked what the natives had seen in the film, they quickly responded that they had seen a chicken.  With further questioning they mentioned that they had seen a man as well, but they had not processed what the man was doing.  They hadn't "made a whole story out of it" and, to the surprise of the researchers, were unable to see the film in a three-dimensional perspective.   Much has been made out of the inability of the native to process the film, but there is another angle to this that I want to focus on.

When the natives mentioned that they had seen a chicken, the filmmakers were baffled.  They had not, to their knowledge, filmed a chicken.  It wasn't until they watched the film frame by frame that they eventually saw that there actually was a chicken in the film, for about one second of screen time at the bottom right of the screen.

We have two radically different reviews for the same film.  This is not a subjective argument about how funny or entertaining the film is.  Both reviewers see something objective that the other cannot.

                    The Spectre is the Reasoning Power in Man, & when separated
                    From Imagination and closing itself as in steel in a Ratio
                    Of the Things of Memory, It thence frames Laws & Moralities
                    To destroy Imagination, the Divine Body, by Martyrdoms & Wars.
                                                                                 

                                                                                 William Blake, Jerusalem 1804

McLuhan argues the same idea as Blake, that any time a bodily or mental function is extended into a new technology, sense ratios are changed, and when the sense ratios of man are changed, the man changes.

The film study in Africa explicitly demonstrates this.  Let's say that literate man sees Film A and non literate man sees Film B.  Film A and Film B are not subjectively different, they are objectively different.  And neither can capture the completeness of the film on their own.   When analyzed through the lens of both perspectives, we reveal Film AB, which captures more information than is contained separately in Film A or Film B .  This is not to say that Film AB offers the complete film.  The complete film may only exist conceptually.  For now, lets refer to this concept of the complete film as just FILM.  


Obviously, non literate man is capable of developing the lens of the literate man, but is literate man capable of resurrecting the lens of non literate man?  Can man also have access to BOTH lenses, and if so, can these lenses coexist?  Do they work separately, at the same time, or both?

The Great Artificial Barrier

“2001 is a non-verbal experience; out of two hours and 19 minutes of film, there are only less than 40 minutes of dialogue. I tried to create a visual experience, one that bypasses verbalised pigeonholing and directly penetrates the subconsciousness with an emotional and philosophic content. To convolute McLuhan, in 2001 the message is the medium. I intended the film to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does; to ‘explain’ a Beethoven symphony would be to emasculate it by erecting an artificial barrier between conception and appreciation.”

                                                                                                                                                                                               Stanley Kubrick,  Playboy 1968

convolute 

       A.  (transitive) To make unnecessarily complex.
       B.  (transitive) To fold or coil into numerous overlapping layers.

Did Stanley Kubrick mean Convolute A or Convolute B?  Or a combination of both, Convolute AB?  Or did he mean CONVOLUTE?  And why did he say "message is the medium" instead of "medium is the message" as McLuhan had originally written it?  


If I attempt to "explain" Kubrick, am I also guilty of "emasculating" and "erecting an artificial barrier between conception and appreciation"?  Probably, but my goal is to "tear down the wall" after I'm through.

A Really Big Shew Pt. 2: A Quest Called Tribe

Marshall McLuhan's The Gutenberg Galaxy: the making of typographic man was published in 1962, and possesses an uncanny understanding of the world we live in today.  The language has a very modern feel, and is even structured in a modern way.   It reads like a newspaper, or more accurately, like a blog, eschewing long chapters for shorter bite sized chunks introduced by microcosmic titles like these:

The Gutenberg Galaxy was theoretically dissolved in 1905 with the discovery of curved space, but in practice it had been invaded by the telegraph two generations before that.

The twentieth century encounter between alphabetic and electronic faces of culture confers on the printed word a crucial role in staying the return to the Africa within.

Why non-literate societies cannot see films or photos without much training.

McLuhan argues that that the phonetic alphabet and the development of literacy had a profound effect on our sense ratios.  It changed the way our brain works.  To build his case, he references a paper by Professor John Wilson of the African Institute of London University from 1961 entitled "Film Literacy in Africa".  Wilson was using film to teach the native tribal people how to read.  A film was prepared to show the proper techniques for removing standing water,  Everything in the film was done slowly and deliberately in order to make clear the instruction.  When the audience was asked about what they had seen in the film, they replied simply that they had seen a chicken, which baffled the filmmakers because they did not know a chicken was in the film.  After carefully reviewing the film the frame by frame, a chicken did in fact appear for about one second of screen time through the righthand bottom part of the screen.

Question:  Do you literally mean that when you talked with the audience you came to believe that they          had not seen anything else but the chicken?

Wilson:  We simply asked them: What did you see in this film?

Question:  Not what did you think?

Wilson:  No, what did you see?

Question:  How many people were in the viewing audience of whom you asked this question?

Wilson:  30-odd.

Question:  No one gave you a response other than "We saw the chicken."

Wilson:  No, this was the first quick response - "We saw a chicken."
Question:  They did see a man, too?

Wilson:  Well, when we questioned them further they had seen a man, but what was really interesting was that they hadn't made a whole story out of it, and point in fact, we discovered afterwards that they hadn't seen a whole frame - they had inspected the frame for details.  Then we fond out from the artist and an eye specialist that a sophisticated audience, an audience that is accustomed to film, focuses a little way in front of the flat screen so that you take in the whole frame.  In this sense, again, a picture is a convention.  You've got to look at the picture as a whole first, and these people did not do that, not being accustomed to pictures.  When presented with the picture they began to inspect it, rather as the scanner of a television camera, and go over it very rapidly.  Apparently, that is what the eye unaccustomed to picture does - scans the picture - and they hadn't scanned on one picture before it moved on, in spite of the slow technique of the film.

Of this McLuhan writes:  "The key facts are at the end of the passage.  Literacy gives people the power to focus a little way in front of an image so that we take in the whole image or picture at a glance.  Non-literate people have no such acquired habit and do not look at objects in our way.  Rather, they scan objects and images as we do the printed page, segment by segment.  Thus they have no detached point of view.  They are wholly with the object.  They go empathically with it."

McLuhan is saying that the human being not subjected to the demands of literacy is simply not  programmed yet.   McLuhan argues that in order to do so, the sense ratios of the human brain must be adjusted like the levels of an equalizer on a stereo.

This is demonstrated quite nicely by the Magic Eye 3D picture phenomenon:

Remember, McLuhan writes that "Literacy gives people the power to focus a little way in front of an image so that we take in the whole image or picture at a glance."  The Magic Eye requires that the observer focus a little way behind the image in order to see the embedded 3D image.  The brain must be adjusted in the opposite manner, an adjustment many people find impossible.  I don't think anyone would judge a person to be of less intelligence for not being able to adjust their senses in order to see a 3D image.

READ MARSHALL MCLUHAN.  

Immersion in the Gutenberg Galaxy has changed the structure of the human brain and has created a kind of tunnel vision in some that prevents them from experiencing the world in a natural way.   I think it helps to explain this:

You can't fault a microscope for not being able to see the rings of Saturn, and you can't fault a telescope for not seeing bacteria.  Each instrument is designed to focus in a certain direction.  A ultra-literate man in a Gutenberg Galaxy simply cannot see or cannot even hear certain things because of the sense-ratios programmed into the brain.

Now, if you were to walk around this subway station with eyes crossed, in the Magic Eye Galaxy, you might get lost in the beautiful sound of the violin, but you also might walk in front of a train.  

READ MARSHALL MCLUHAN

(This large, bold print is only obnoxious to the literate man)

Now, I don't think any of this is breaking news now, and I know most people understand this concept.  But remember, McLuhan wrote about this in the early 1960's, and if you claimed to understand McLuhan in the 1960's you were considered either extremely educated or a liar.  

History is a Nightmare From Which I am

       Trying to Awake  James Joyce

In the modern world, the slightly in front focusing technique of literacy is a requirement, necessary hundreds and hundreds of times a day.  What kind of strain and stress does this require of the brain?  Try to imagine if the slightly behind cross-eyed focus of visualizing the Magic Eye was required hundreds of times a day.   Try to imagine the stress and strain of incorporating that into your daily life, and I think it becomes apparent that any permanent reprogramming of the sense-ratios will have a profound effect on the brain.

McLuhan theorizes that this reprogramming of the mind is not only responsible for tunnel vision, he also theorizes it is responsible for certain types of mental illness, specifically schizophrenia.  Now, obviously if this was a black and white issue, everyone who learns how to read and watches films would be mentally ill, and this is clearly not the case.  But this doesn't mean that McLuhan isn't on to something.  I suggest comparing McLuhan's theory with what we know about alcoholism: some people can drink alcohol, some people shouldn't drink a lot of alcohol, and some people shouldn't drink ANY alcohol.   Literacy, like alcohol, affects different people in different ways.

INSERT REFERENCE TO COSMIC TRIGGER HERE

When I was about four or five years old, my older sister learned how to read.  Now, I had no idea specifically what it was my sister was doing, but I must have recognized that she was receiving a lot of positive attention for doing something I couldn't do, attention that I was jealous of.  This became my first obsession, and with the help of a very patient mother who would read Dr. Seuss books out loud so that I could follow along, I effectively programmed my brain and learned how to read.  Now, I don't have a crystal clear memory of all the details, but I can still recall the feeling of that "AHA" moment, when the markings on the page became words, and the words on the page became sentences, and my brain locked into the ability to read.  It was disorienting and extremely powerful.  A switch had been magically flipped and a whole new universe emerged out of thin air.  This is nicely mirrored in the "AHA" moment of the person staring at the Magic Eye picture for forty-five minutes who suddenly sees the 3D image that had been there all along.

I was considerably younger than most when I learned to read.  This distinction gave me all the positive attention that I was looking for.  It gave me identity, as I was now considered "gifted",  and it gave me an incredible amount of confidence.    It also may or may not have been responsible for the emergence of "night terrors".  

  

Everyone knows the image of the frightened child as the boogey man emerges from the closet or the monster under the bed starts to creep.  I might have been afraid of these monsters in my room, but I was deathly afraid of falling asleep, of the monsters in my head, in my dreams.  My mother has told me of the many nights she was awakened by my screams, and of being unable to wake me up as I climbed the walls of my bedroom.   I think about my mother trying to console me, a frightened, suffering child, and not being able to simply because she could not wake me up.  Not good.  But a pretty good metaphor for Human History in the Gutenberg Galaxy.

I don't know for sure if my obsessive quest to reprogram my brain was responsible for the emergence of my "night terrors", but the two definitely seem connected in some way.

INSERT REFERENCE TO VALIS HERE

McLuhan was an optimist though, and he was very supportive of the new electronic media that was beginning to change the landscape of the world.  In 1961, he predicted that electronic media would reduce the worst symptoms associated with this phonetic dark age within the Gutenberg Galaxy, symptoms best illustrated in the conformity and schizophrenia of Industrial Revolutions and Nazi Germany.   McLuhan saw the rigid border lines of kingdom and country becoming vulnerable to an emerging tribalism that was being made possible by electronic media.

.

READ MARSHALL MCLUHAN

It is 50 years since The Gutenberg Galaxy was published, and, as I see it, we are living in the future world that Marshall McLuhan foresaw.   The World Wide Web has replaced the book, the film, and the television as the most ubiquitous form of media in the world.  We literally carry it around with us in our cars, in our pockets, in our schools and in the office. Take a few moments to really grok how many new modes of communication exist, how many new channels of communication it provides, how many new "tribes" are forming.  Facebook is only eight years old, and it has already been turned into a movie, an Academy Award nominated movie.

The dominance and monopoly of The Book is dissolving, and today's students are no longer subjected to hours and hours of phonetic instruction.   Modes of education have become more "empathic", and are not as invasive.  It seems as though the Sensual Revolution is near.

It is important to stress that the World Wide Web is not a Home, or the pot of gold at the end of the rainbow.  It is an oven, a global electronic alchemical oven.  A digital Tower, and successor to that Tower of old, that multi-national alchemical melting pot known as America.  In my opinion, as long as the fires of the Web are burning, we have a fighting chance to improve the conditions of life on this planet.

INSERT REFERENCE TO THE DIVINE INVASION HERE

(or The Invisibles, The Matrix, The Truman Show, Dark City, etc)

Despite All My Rage I Am Still Just Rat In A Maze In A Cage

Chapter 3: What Is iAhuasca?

The name iAhuasca is derived from the word "ayahuasca".  Ayahuasca is a psychoactive plant brew said to have divinatory and healing properties.  It is made from a combination of plants native to the Amazon rainforest, specifically a vine, Banisteriopsis caapi, and the leaves of a small plant, Psychotria viridis.  Neither of these components are psychoactive on their own.  It is only when they are combined that the divinatory and healing properties manifest.   It is unknown how the formula for ayahuasca was discovered, or who discovered it.  Some say the spirits gave the recipe to the people.  Others say it was an experimental process of trial and error, sometimes referred to as alchemy.  It was probably a combination of both.

Very few of us have access to the spirit realm, but all of us have access to alchemy.  Most of us use the alchemical process and don't even realize it.  Take a standard recipe for lemon chicken.  You take this standard recipe and tweak it with different spices over many years.  Eventually that standard lemon chicken has become something new, something different.  That is alchemy.

iAhuasca is an alchemy of media.

The alchemy of media first appeared in the 1920's with the cut up technique employed by the Dada movement, but wasn't popularized until the 1950's by William S. Burroughs.  Today it can be found in everything.   Sampling, mash-ups, and collage are a few methods, and are executed on many different technical levels, from The Dust Brothers work on Paul's Boutique to "I'll Be Missing You" by Puff Daddy,

The goal of iAhuasca is an alchemy of media that isn't as much about entertainment as it is a return to the intentions of the Dadaists and Burroughs.  It seeks divinatory and healing properties.  It wants to change the way you see the world around you.

iAhuasca was born out of watching Dark Side of the Rainbow, the well known method of playing Pink Floyd's Dark Side of the Moon while watching The Wizard of Oz.  No one seems to know who first discovered the Dark Side of the Rainbow, but we do know that something uncanny happens when these two are combined.  If nothing uncanny happened while watching it, we wouldn't be talking about it.  I compare this to Finnegans Wake, another brilliant alchemical creation.  We know it isn't nonsensical bullshit because people still talk about it.

Unlike ayahuasca, or Dark Side of the Rainbow, I know how The Kubrick Transformer was discovered.  It was discovered during an intense alchemical experimentation of many months.  There are many different combinations that evolved out of this alchemy, but the specific formula that I have shared is the cleanest product.  Think of Breaking Bad and the formula for the Heisenberg Blue.  It's the shit.  It's pure, nothing cut into it, no cheating.  And the source material is of the highest quality.

I expect over time to share some of the other products that evolved out of this work, but I also want to see if others will discover them on their own.  All the materials necessary for experimentation are available, mostly everyone has a lab.  Get cooking.  Seriously, no excuses, it's still legal, and the Amazon is just a mouse click away.

Eventually, I will offer my opinion on why this occurs and what it all means, which for me starts with the Noosphere.

Vladimir Vernadsky and Pierre Teilhard de Chardin are responsible for introducing the concept of the Noosphere.  This new environment evolves out of the geosphere and the biosphere, a sphere I visualize as an eternal human being whose flesh and bones are the internet, and whose blood is human thought.  The Noosphere is in its infancy, and in the very near future,   this child will want to know where it came from, where it is, who its parents are, and why?