20120518

Helter Skelter Vol. 1




Around four years ago, I discovered Christopher Knowles blogspot The Secret Sun.  It was and is a consistently brilliant source of history and insight, and a doorway into the mysteries of our culture.  Thanks to The Secret Sun, I also discovered many other writers in the blogosphere, many of which proved to be just as thought provoking.

I had been an avid reader and student of most of the major names of occult and esoteric field since college, and felt that I had, as Robert Anton Wilson so eloquently put it, constructed a pretty good bullshit detector.  I was confident that these new voices I was reading were no bullshit, and that I was very lucky to have found them.

It was a very lonely journey on the path, but with each new writer I discovered,  I couldn't help feel that I had found "the others".  Slowly, and awkwardly (and sometimes a bit bizarre), I started to not just read the emerging dialogue, I started to also participate in the dialogue.  To be honest, it was probably one of the happiest times of my life.



And then at some point Stanley Kubrick entered the picture.  I don't know the specific article that did it (probably Rob Ager, another brilliant writer and source of endless insight) but I became obsessed.  I had seen most of Kubrick's films, or at least I thought I had, but I had never realized the depth of genius that everyone seemed to be arguing was on display.  I had to know more.  This is where Mark LeClair enters the picture.  No other writer seemed to hint at the Truth (whatever that is) more than Mark.

Over the next few weeks/months, I am going to share the entire e-mail correspondence that occurred between Mark Leclair (The Wrong Way Wizard, Artislav Mel) and myself.  This correspondence reflects the work that ultimately led to the discovery of the Kubrick Transformer.

Unless noted, this will be completely unedited and uncensored.  It is a completely honest account of the research Mark and I shared as we hunted down the mystery.

This first section is a conversation Mark and I had in the comments section at the Wrong Way Wizard blogspot.  I had posted this Top Secret comment in the oldest post at the blog, so that only Mark could read it.  Like I said, awkward, geeky, and a bit mad.  It led to the beginning of the email correspondence that follows.

*I can only speak for myself here, but this correspondence documents an eight month period of intense experimenting and research, and will reflect a process of learning.  At times other people's work will be questioned, and hubris will always be lurking in the shadows.  


From the Comment Section of Angel In The Morning.  I am WK23, and Mark LeClair is Herbie Mimbitz:

March 6-10, 2011

WK23-









I bury this nugget, because anyone on the path should wake to the fact that your blog is a contemporary stepping stone, a brick in the cosmic wall. You do good work. Here is my offering: Inception, pause at 2:03:06. Rewind frame by frame to when the clock hits 2:03:04 exactly. Cue up side one of Meddle and push play on both. Watch. Replay the second time with subtitles. Boo yah. ! .


March 6, 2011 2:38 AM


Blogger Herbie Mimbitz: The Ping Pong Pandava said...
Hey WK23,

I am a Cosmic Class Procrastinator. I have yet to go to the mall which is just across the street, and buy that media. Now I will add Inception to the list. Truth is, doing these Meddle plays has been on my mind non-stop. Why I have delayed allows me to share a bit about my life, in the spirit of our Net Friendship.

I suffer from pretty bad agorapohbia. I don't mind being around others, I have no fear, so to speak, but I can't bring myself to step outside my front door.

The problem started when I was in a bike accident in the summer of 2000. I suffered a head injury and well, I haven't been the same since. For a while things were pretty rough.

Anyhow, I hope this isn't the proverbial "too much information". I don't really feel the need to tell you my life story or anything, but I feel you deserve a comprehensive explanation for why I am so desultory with so much data at the doorstep.

You can count on it that I am very interested in what you may choose to share regarding your own research. I'm am downloading Inception and Meddle right now, and will do the lab tonight.

Pax Owt for Now

Da WWWiz
March 6, 2011 6:02 PM
Anonymous WK23 said...
Wiz-

This Meddle/Inception is just a monster, and I am looking forward to hearing your interpretations.

No need to apologize for sharing personal info with me. Too much info is almost impossible these days. Agoraphobia is an awful state of mind. I can imagine how difficult the simple things I take for granted must be. Keep the faith Mark.
March 6, 2011 7:37 PM
Blogger Herbie Mimbitz: The Ping Pong Pandava said...
My Dear WK23,

I have done the Meddle w/ 2001 and The Shining.

Awesome... I mean, what a trip. Jay Weidner proposes the use of "Echoes" over the same 2201 sequence you recommend and all I can say is...score one for WK.

The Shining Meddle is great too, and I spent my day (all of it) looking at it and sliding it over a bit here and there--totally wicked. I have some ideas about the perfect place for it to sit that are a little different than you suggest, and I want to experiment a bit more... but it is all you man. Totally bitchin'.

Haven't done the Incept yet... my download failed.

And what a great album is "Meddle". I had heard only Echoes previously, but I like side one muchos grande.

Thak you, my friend, for the gift of your vision. I might like to do a post on this matter, but will talk more w/you first.

DaWWWiz

Pax Owt for Now
March 9, 2011 2:53 AM
Blogger Herbie Mimbitz: The Ping Pong Pandava said...
WK23,

It is 7 am and I'm still at it.

Boy have I got a find for you, to return the joy as it were. If I am telling you something you have already discovered, then it is a double thank-you from me. Either way, thanks to your Meddle Mash, we both win.

Here are your instructions.

Put your music player on ALL PLAY REPEAT. Very important.

Proceed with the 2001/Meddle Mash according to your discovery. I find it easier to use visual cues, so I line up the first track to begin exactly as the Monolith begins to fade away, at about 2:01:31.

Watch your own discovery unfold before your eyes and prepare yourself for a treat.

When the movie ends, let it (and the music) play on to the final title card which reads THE END.

Here you will need a little volume on the movie track. Listen for the final note of The Blue Danube. When Danube has ended, quickly slide the movie time bar selector all the way back to the beginning of the DVD. The slide should be executed in 1.5 to 2 secs, maximum.

This should take you back to nearly 3 min of black screen (overture) followed by the MGM Title Card, and then the credit sequence and so on. "Echoes" will have been playing for a while by the time the movie proper begins.

Let it play and you will be fucking blown away, my friend.

I'm still watching now, onto the second play of "One of These Days". Up to this point is it really splendid, and I'm gonna stick with it a while longer...

... but up to the end of "Echoes" is fah shizzle most hizzy my nizzy.

Jay Weidner should be so on the money...

Your Meddle Mash is killer.

Pax Owt 4 Now
March 9, 2011 5:36 AM
Blogger Herbie Mimbitz: The Ping Pong Pandava said...
WK

By the end of Danube I mean the end of the phrase. Time code 2:24:25. Slide to the start at this point.
March 9, 2011 6:24 AM
Anonymous WK23 said...
Wiz-

Right on. I am excited to take it further with 2001 as you suggest.

Make sure to complete this Meddle Mash with both Inception, and, of course, A Clockwork Orange. ACO doesn't work as a whole as well as the others, but starting at 1:56:00, it delivers some worthy moments. Inception, for me, is really the true fireworks, especially reflecting on the experience of watching it the first time. I really stress taking it in first without subtitles, and second with.

A few notes:

I have been equating the iPhone/iPod with the Monolith for a while now, as I am sure you do as well. In 2001, right before the start of the Meddle Mash, the image of the planets in vertical alignment with the Monolith/iPod completing the Cross resonates with my own completed picture of 2001/Inception/The Shining/ A Clockwork Orange all being projected at once, stacked on top of each other, a cinema totem pole (another Inception image, and a totem)and synched to Meddle. Each film than becomes a planet.

The McCluhan first edition of Understanding Media is eerily similar to the cover of Meddle. The eye on UM, the ear? on Meddle. I forget where I read this but it is dead on.

Weidner's article of the hypersphere is excellent, and ties into the totem image of Inception.

I really believe that the synch of all films together will bring much added value to some of the images.

I actually expect a post from you on this, I don't think there is any one else who can map this out. Just make sure to digest the Inception Mash (one spoiler: Nolan actually works in the image of the album cover).
March 9, 2011 2:05 PM
Anonymous WK23 said...
Wiz-

I have a MAJOR work to share with you, probably sometime next week. It connects a lot about what we are discussing in this thread, and I know it will be crystal clear to your critical vision. There are elements that I am happy to broadcast here, buried in this, the first comments section of your blog, but it might be prudent to communicate the initial components of this next discussion via email. I really believe it will be a catalyst to a possible integration of a lot of your ideas.
March 10, 2011 6:56 PM


This series of messages led to the email correspondence that begins here.  The emails are grouped by the title of the email thread.




Back To OZ:  
March 10-15, 2011

Klaus :

My plan was to see if I could synch a film correctly the first time I ever saw it, with out any knowledge of the film.

I think I can carefully go on record as saying that I might be the only person in the world to have experienced this next connection in the theater, and very possibly the only person ever (unless it was executed with intent).  I didn't want to broadcast this one until you have the opportunity to take it in.  Only one other person knows about this, and he's a good guy, also a fan of your work.


I identified my film.  I had a good feeling the film was going to be loaded with imagery conducive to a good synch, but what album?

I had to choose between Meddle and DSOTM, and it became quite obvious which one to use without much thought.

So, I bought a ticket the first week the movie was our, sat in the last row with my iPod, and trusted that I would know when to push play.

Who would have known that it fucking worked.  So well, that I had to leave after one cycle of the album just to process what I had seen (once you see it, you'll also understand that there was almost a built in instruction to leave after one cycle).

I proceeded to go back and watch two cycles, and once again leave the theater.

I returned and finished the film on the third viewing, which took almost three cycles of DSOTM.  I went back a fourth and finally watched the movie without DSOTM.

Just imagine if someone somehow experienced 2001/Meddle the first time they ever saw the film?  Also, to know that the packed audience in front of me was experiencing something completely different--unravelling that dynamic is central to the debate.

Well, I hope you haven't seem the film I'm referring to so you can take it in fresh.

I'm going to see if you can guess the film.

LeClair :

OK, from the hip, I'm gonna guess either No Country or True Grit, but there are a few others that seem possible. The Social Network?


I remember a comment you once made that expressed a mutual interest in the Coen Bros., but I admit I am grabbing at straws. If I am wrong, I'd love a chance at another guess. Give me some kind of a hint. Or if you aren't a fan of such games... please SPILL THE BEANS... you're killin' me here (and I love it).


I am seriously intrigued, and if the flick is still on the big screen, I would love to go and give this a try myslef. I see two or three movies in theater per year, at most, but I can--will--make it happen. For a look at the wonders you have intimated, I would make it happen ASAP. Am I too late?


By the way, now that we are on email and in case you don't already know, my real life name is Mark LeClair.


Pleasure to meet you William Klaus of Yahoo.


Pax Owt and I Await Your Dispatch


You've really got me going. Your title "Back to OZ" makes me think maybe it's Tron Legacy.

Klaus :

The ultimate chaos magick initiation flick for the next generation:  Harry Potter and the Deathly Hallows.

I've seen the previous films, and actually did this same experiment for the previous Potter.  It is quite thrilling to walk into a movietheater and know that you are "sacrificing" it in some way, in essence, altering the director's version, by receiving it through a filtered lens the very first time.  It is taking control of virtual reality, especially when the masses around you are all under the directors spell, while you are fully aware that you are the only person under a different spell.

I had done the first Dark Potter with "The Half Blood Prince" as a kind of media dare: I would not know the plot, the dialogue, new characters names.  I would have to tell myself my own story based on image and soundtrack alone.  It was incredibly entertaining; I have only seen this movie once, that initial time, and will some day revisit it.

It would be two years before I retried this experiment, but this time I KNEW, or rather, expected some definite marriage between the two.

To repeat, I have not read these books, and in regards to the previous movie, I had "remixed" it into my own story.  "Hallows" was the organic sequel to my own Dark Potter vision. (Obviously, we always tell ourselves our own story of reality, but, well, you know what i'm saying here)

There is no doubt that whatever is bubbling beneath the surface of these types of media marriages/synchs/mash/eclipses is in full focus with DSOTM and the Deathly Hallows.

The film comes out on DVD next week.

Til then:  No Country/Side One of Meddle is nice.  Do this at the BEGINNING of the film.

Tron:Legacy with DSOTM was, in hindsight, actually pretty awesome.

After "Deathly Hallows" registered so completely, I pretty much saw all movies with DSOTM, not necessarily for the synchs (which are there) but mostly to divorce soundeffects/dialogue from film, and focus on IMAGE, and to see what story my brain was telling me based on these images alone  These experiments were over a one month period, and all funnel into my initial readings of McCluhan, and all greatly influenced by a lot of your writing.  Heavy stuff bro.  King's Speech, Mega Mind. Narnia, The Fighter, some Russel Crowe movie I walked into late.  Taking in these films this way had a profound effect on me.

That most amazing part of this process,   based on my experiences,  is how this affected my dreams.  I'm thinking that this is major breakthrough type shit, not sure which direction it will take.

Needless to say, there is a lot going on here.

To conclude:  the synchs made way to the process, the process opened up a conscious dream state.  I call it iAhuasca.

LeClair :

You are becoming my hero. iAhuasca indeed! Brilliant.


The Deathly Hallows Mash, eh? I am into to it. I have yet to see the film, so I have a clean slate for the experience. I'll pop you a line when I've got the movie, to receive my instructions.


Have you tried the Meddle/2001 loop around yet. You won't be disappointed.

Klaus :

Re: 2001/Meddle Wrap Around:  Majestic.  Just a beautiful transition and book end to this work.  Thank you for sharing.  The return "ping" when Moonwatcher looks at the bones about killed me.  Plus, I don't think I'll look at that floating pen in the same way ever again.

I equate the line "One of these days I'm going to cut you into little pieces" as this type of editing, something impossible in the 1970's.

Google "Meddle Mash", you should get the lyrics to a song by an aptly named artist.

I think the wrap around ends nicely with San Tropez, around 41:28,  when the photographer (young Kubrick) announces that he is through, so that they can announce Dr. Floyd, who begins his speech.  Let the movie take over from there...perfect balance.

One last note:  starting Echoes at 1:37:52.  Subtitles on.

I'm going to say that starting "Seamus" at 1:35:36, and letting the album play out is the one.  Gotta love the teamwork.

Start Inception at 1:37:21 with Seamus.  The story of Mal.

LeClair :

Your interpretation of the lyrical reference to "cut up" is chilling, and I do not choose this term lightly. I hope I can live up to your standard on this, because right about now, I'm feeling it bro, and I am shaken. Have you seen "The Phantom of the Paradise". There are certain pieces of music that are remarkably similar to those found on "Meddle". There is a reference to "cut up", vis, "...all this cutting up ain't easy and it isn't for the queasy or the weak of heart...". The song, called "Life at Last", is on my blog at the very bottom of "Quiz Show Holocaust". There is a musical riff in "Echoes" that is found quite literally note for note in "Somebody Super Like You".


And my dreams are off-the-hizzy lately.


Life at last.


http://www.youtube.com/watch?v=3mQ0nzo_rU4


Somebody super like you.


http://www.youtube.com/watch?v=l2iHPnmAT0o&feature=related


Something interesting about the initials WK. "Meddle" is 46 minute and 44 seconds long. With track spacing that's about 46:46


Listening to Weidner on RedIce radio.


http://www.youtube.com/watch?v=ssnlbnAGGV0&feature=feedu

Klaus :

Using my iPod, I'm starting Seamus at 1:35:35.5, and I'm just in AWE

Gonna check out that Weidner later tonight.

Owsley Stanley died today, nicknamed Bear.  Amazing guy.

Thoughts on Weidner:

It's always hard to process talk of Satanism, especially the whole pedophile/sex/death cult.  I know that it existed or exists in some form, but it just doesn't seem to register as a cult institution.   It seems essentially a societal mirror, or a psychological moat that one must cross.  No one crosses with the guilt of knowing they create damage in the realms of children, sex, and violence.  It seems like a test of some kind.  The Monarch thing seems somewhat legit as a technology.  I have trouble processing those angles.    

I do think that the most evil thing vampiring the world today is pornography, especially Internet pornography.  Vampire city.

The whole Elite thing is an intellectual trap to me, the final tempation of Christ/Buddha.  Maybe Kubrick was deceived, and is atoning with these embedded confessions.  The creepiest connection to his insider knowledge is the sound of the tennis ball in The Shining, echoes of the bodies hitting concrete on 9/11.  I think I might buy into that angle you suggest, that Kubrick knew of the plan.

  I don't really like that Weidner sells his info, makes DVD's.  There has to be some disinformation going with that.  I have to say your blog always has the authenticity of a true seeker.


Start "Seamus" at 1:37:21 in Inception with subtitles.  For 2001, I'm going with 1:35:35.5.  Shame On Us indeed Stanley.

LeClair :

Yeah, I agree about Weidner... he seems to be holding back as much as he reveals. Good for business, I guess. Nevertheless the Monarch, Pedophilia angle is present in Kubrick, especially in The Shining and EWS.


I basically agree with your idea that it is all "some kind of test". But what a test!!


I keep on digging. I have no doubt you do the same. Perhaps we can really break this wide open. I don't know, but I do know I am committed.

Klaus :

So, starting The Shining with Seamus, to complete through side one, the first pings of Echoes strike when Hal and Charlie appear on the radio.

I'm starting Seamus at 1:36:30.  Over Larry's right shoulder is an ad for "pooch" air fresheners, as well as what appears to be a dog in the cartoon on TV.  The Garage is a male version of the Kitchen.  Dig. It.

There's that Grand Piano behind Jack...

The climax to Echoes in The Shining and 2001 seem to focus on the major conspiracies.  Or not.  But something was orchestrated.



Careful With That Axe You Gene:  
March 16 -18, 2011

Klaus:

Rob Ager's essays have a wealth of insight, but I agree with your opinion that he seems to stop short of piercing certain veils.

I like his cycles of abuse, culminating in the picture of Jacks grandfather at the end.  The abuse/amnesia component works perfectly with "shining".  Sexual and violent abuse is an archaic form of mind control, with healing psychic eruptions, manifested as waking dreams,  paralyze with insight.  But does Kubrick hint at the newer tech, a cleaner form of mindcontrol?  Something not done in shadows, but out in the open? This newer mindcontrol, Kubrick might be suggesting, is escapable as well.  A genetic  "shining", deeper than repressed unconscious "shining", that works with codes rather than simpler forms.  (PKD with his visions).

Ager doesn't seem to make that leap into the non-local weirdness, which is fine, but it shouldn't be ignored.  This must be Kubricks Finnegans Wake, the nighttime  to compliment 2001's  daytime Odyssey.  In space, it is always daytime, the sun always shines.  In the Overlook, it is the son that shines.

LeClair:

I am overwhelmed by events in Japan. My brother and his family live in Tokyo, and he isn't taking it well. My mom has aged 5 years in the last week. I feel , for myself, like I am in suspended animation. I can't seem to think or make decisions. I sleep and listen for updates and nothing else.


Anyway, just wanted to touch base. I have enjoyed your discoveries so much, and hope there is more adventure in the future. Please keep in touch.

Klaus:

Mercy.  Completely understand.  My thoughts go out to you and your family.

LeClair:

I appreciate your thoughts. It's weird. I feel like the world is coming to an end. I want to just forget it and move on, or even revel in it, as I have in past catastrophe, but for some reason this event has heavy hooks in me and I can't shake them.


There are six reactors a Fukushima, each housed in a Cubical Cooling Tower. The two color paint job on the cooling towers are white and pale blue, and looks like sun dappled water. The tower colors are eerily like those on the flag of Israel, which sports the hexagon and in turn the Cube. The Hebrew letter Mem means "water", and the letter form for Mem is described by Kaballists as "cubical". Mem also means "forty". Forty years ago were the events of "Watergate" and not coincidentally, the Fukushima Daiichi Facility goes on line in 1971. The Tepco Logo is devised of Six Rings which harkens both the number Six and also Saturn and its hexagonal polar anomaly. From "tepco" I find "octep" like "octopus" and also "optec" as in "optic".


As silly as is seems, I consider the possibility that Stanley planned all of it.


It is madness, I admit, a divine madness, though.


My thoughts are also with you, WK, whoever you are. Take care of yourself and loved ones in these crazy times... and as it all unfolds, keep in touch.

20120514

Visions of Urbana 4.9: Why Phi?



Philip K. Dick

" 'The Secret Commonwealth,' " Elias said.  "I never believed it existed."  He glowered at the girl, baffled.  "It doesn't exist; that's the whole point!"
     "It exists," she said.  "And here.  Come with us, Mr. Asher.  You are welcome.  But there I am not as I am now.  None of us is.  Except you, Emannuel."
     To the boy, Elias said, "Lord-"
     "There is a doorway," Emmanuel said, "to her land.  It can be found anywhere that the Golden Proportion exists.  Is that not true, Zina?"
     "True," she said.
     "Based on the Fibonacci Constant," Emmanuel said.  "A ratio," he explained to Herb Asher, "1:.618034.  The ancient Greeks knew it as the Golden Section and as the Golden Rectangle .  Their architecture utilized it. . . for instance , the Parthenon.  For them it was a geometric model, but Fibonacci of Pisa, in the Middle Ages, developed it in terms of pure number."
     "In this room alone," Zina said, "I count several doors.  The ratio," she said to Herb Asher, "is that used in playing cards: three to five.  It is found in snail shells and extragalactic nebulae, from the pattern formation of the hair on your head to-"
     "It pervades the universe," Emmanuel said, "from the microcosms to the macrocosm.  It has been called one of the names of God."
--from The Divine Invasion by PKD



The first known calculation of the (inverse) golden ratio as a decimal of "about 0.6180340" was written in 1597 by Maestlin in a letter to Kepler.

"Strange," she said, "I'm old enough to be your mother.  And yet you are older than I am.  There is a paradox; you knew you would find paradoxes here.  My realm abounds with them, as you were just thinking.  Do you want to go back, Yahweh?  To the Palm Tree Garden?  It is irreal and you know it.  Until you inflict decisive defeat on your Adversary it will remain irreal.  That world is gone, and is now a memory."
     "You are the Adversary," he said, puzzled, "but you are not Belial."
     "Belial is in a cage at the Washington D.C. zoo," Zina said.  "In my realm.  As an example of extraterrestrial life-a deplorable example.  A thing from Sirius, from the fourth planet in the Sirius System. People stand around gaping at him in wonder."
--from The Divine Invasion



Belial is also mentioned in the Fragments of a Zadokite Work (which is also known as The Damascus Document (CD)), which states that during the eschatological age, "Belial shall be let loose against Israel, as God spoke through Isaiah the prophet." The Fragments also speak of "three nets of Belial" which are said to be fornication, wealth, and pollution of the sanctuary.  In this work, Belial is sometimes presented as an agent of divine punishment and sometimes as a rebel, as Mastema is. It was Belial who inspired the Egyptian sorcerers, Jochaneh and his brother, to oppose Moses and Aaron. The Fragments also say that anyone who is ruled by the spirits of Belial and speaks of rebellion should be condemned as a necromancer and wizard.
Belial, Wikipedia


   
  "Tell me, now," he said "who you are."
     "Let us go," she said, "hand in hand.  Like Beethoven and Goethe: two friends.  Take us to Stanley Park in British Columbia and we will observe the animals there, the wolves, the great white wolves.  It is a beautiful park, and Lionsgate Bridge is beautiful; Vancouver, British Columbia is the most beautiful city on Earth."
     "That is true," he said.  "I had forgotten."


     Together they walked across the verdant ground, among the vast trees.  These stands, he knew, had never been logged; this was the primeval forest.  "It is exceedingly beautiful," he said to her.
     "It is the world," she said.
     "Tell me who you are."
      Zina said, "I am the Torah."

   
     After a moment Emmanuel said, "Then I can do nothing regarding the universe without consulting you."
     "And you can do nothing regarding the universe that is contrary to what I say," Zina said, "as you yourself decided, in the beginning, when you created me.  You made me alive;  I am a living being that thinks.  I am the plan of the universe, its blueprint.  That is the way you intended it and that is the way it is."
     "Hence the slate you gave me," he said.
     "Look at me," Zina said.
     He looked at her--and saw a young woman, wearing a crown, and sitting on a throne.  "Malkuth," he said.  "The lowest of the ten sefiroth."
     "And you are the Eternal Infininite En Sof," Malkuth said.  "The first and highest of the sefiroth of the Tree of Life."
 


     "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."
     As they approached the Stanley Park Zoo, Emmanuel said, "The animals will be surprised by their freedom.  At first they won't know what to do."
     "Then we will teach them," Zina said.  "As we always have.  What they know they will have learned from us; we are their guide."
--from The Divine Invasion


20120504

Visions of Urbana 4.2: The Great Work-In-Progress, or "You Can't Go OM Again?"




The Logos

W:  Ἐν ἀρχῇ ἦν ὁ Λόγος, καὶ ὁ Λόγος ἦν πρὸς τὸν Θεόν, καὶ Θεὸς ἦν ὁ Λόγος.
O:  in principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum.
B:  太 初 有 道 , 道 與 神 同 在 , 道 就 是 神 。
N:  Im Anfang war das Wort, und das Wort war bei Gott, und Gott war das Wort.
Y:  En el principio existía el Verbo, y el Verbo estaba con Dios, y el Verbo era Dios.
A:  Au commencement était la Parole, et la Parole était avec Dieu, et la Parole était Dieu.
R:  בראשית היה הדבר והדבר היה את האלהים ואלהים היה הדבר׃


Our Non-Local friend Ǝ is the Logos. The Logos is the White Light of living information that exists everywhere anywhere innywhere and at all times. 
The Prism Δ is the bio-physical network of plant and animal bodies.
The Logos penetrates all Δ's, but only certain bio-physical networks equipped with a Neo-Cortex can project colors of the RAYNBOW, the unified spectrum of Local expressions and extensions of Logos into Media.  






W:  Ἐν ἀρχῇ ἦν ὁ Λόγος, καὶ ὁ Λόγος ἦν πρὸς τὸν Θεόν, καὶ Θεὸς ἦν ὁ Λόγος.
O:  in principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum.
B:  太 初 有 道 , 道 與 神 同 在 , 道 就 是 神 。
N:  Im Anfang war das Wort, und das Wort war bei Gott, und Gott war das Wort.
Y:  En el principio existía el Verbo, y el Verbo estaba con Dios, y el Verbo era Dios.
A:  Au commencement était la Parole, et la Parole était avec Dieu, et la Parole était Dieu.
R:  בראשית היה הדבר והדבר היה את האלהים ואלהים היה הדבר׃

Although each line of the text above is visually and structurally unique, every line of text expresses the same thought (translated into the English language each line states "In the beginning was the word"). Each language is a LOCAL projection and transfiguration of the Non-Local Logos, separate jigsaw puzzle fragments of a Hologrammatic Fractal Whole.  Though these puzzle pieces can be fitted into an infinitude of combinations, none will ever be able to manifest the totality of the Logos that created them, meaning, no matter how long we try, all the King's Horses and all the King's Men cannot put HD back together again.  Human history seems to be the clash and bash of a common language lost in translation.

The White Light = Logos = Ǝ = Non-Local = The Tao = NO MIND = NO DIVINE. 
The Prism = The Prison = The Room = The Womb = Δ = The Brain
Doorway = 42 degrees = Angle = Angel = Neo-Cortex
The RAYNBOW =  Egos = E's = Local = Language = Color = ART = Science = Religion = Male = Female = Child = Adult = Life = Death = As Above = So Below = ? = !


"I have the distinct feeling that Carl Jung was correct about our unconsciousness, that they form a single entity, or as he called it, "collective unconscious." In that case, this collective brain entity, consisting of literally billions of "stations," which transmit and receive, would form a vast network of communication and information, much like Teilhard's concept of the noosphere."
Philip K. Dick

Ok PKD, I agree with you.  But how do you illustrate this "noosphere" in a common language?  How do you persuade the Greek and the American and the Chinese and the Brazilian that they are in fact all striving to communicate the one thought?

After dinner he spent some time with the holoscope, studying Elias's most prized possession: the Bible expressed as layers at different depths within the hologram, each layer according to age.  The total structure of Scripture formed, then, a three-dimensional cosmos that could be viewed from any angle and its contents read.  According to the tilt of the axis of observation, differing messages could be extracted.  Thus Scripture yielded up an infinitude of knowledge that ceaselessly changed.  It became a wondrous work of art, beautiful to the eye, and incredible in its pulsations of color.  Throughout it red and gold pulsed, with strands of blue.
Philip K. Dick


If our individual organic bio-physical Δ's can refract part of the spectrum, and the totality of our collective Δ's separately refract the WHOLE of the spectrum, could it be possible to construct a Δ that could refract the totality of this spectrum simultaneously?


It was an open hologram.  New information could be fed into it.  Emmanuel wondered about that but he said nothing.  He sensed a secret.  Elias could not answer him, so he did not ask.
     What he could do, however, was type out on the keyboard linked to the hologram a few crucial words of Scripture, whereupon the hologram would align itself from the vantage point of citation, along all its spacial axes.  Thus the entire text of the Bible would be focused in a relationship to the typed out information.
     "What if I fed something new into it?" he had asked Elias one day.
      Elias said severely, "Never do that."
     "But it's technically possible."
     "It is not done."
      About that the boy wondered.
      He knew, of course, why the Christian-Islamic Church did not allow the transmuting of the Bible into a color-coded hologram.  If you learned how you could gradually tilt the temporal axis, the axis of true depth, until successive layers were superimposed and a vertical message - a new message - could be read out.  In this way you entered into a dialogue with Scripture; it became alive.  It became a sentient organism that was never twice the same.  The Christian-Islamic Church, of course, wanted the Bible and the Koran frozen forever.  If Scripture escaped out from under the church its monopoly departed.
     Superimposition was the critical factor.  And this sophisticated superimposition could only be achieved in a hologram.  And yet he knew that once, long ago, Scripture had been deciphered this way.  Elias, when asked, was reticent about the matter.  The boy let the topic drop.
Philip K. Dick





20120328

INTERMISSION



One must find out for oneself, and make sure beyond doubt, who one is, what one is, why one is ...Being thus conscious of the proper course to pursue, the next thing is to understand the conditions necessary to following it out. After that, one must eliminate from oneself every element alien or hostile to success, and develop those parts of oneself which are specially needed to control the aforesaid conditions.

Aleister Crowley, Magick Book Four





"The meta-physiological circuit, then, is this cosmic Information System.  The synchronicities of 
circuits V to VII are just the dawning notes of the symphony of all inter-related harmonies revealed to those who have experienced Circuit VIII in action.  It is hard to avoid hyperbole when talking of such matters, but everything one can associate with the idea of Oneness With God-or Oneness with "Everything"-is part of what is experienced in the vistas, beyond space-time, of this meta-physiological circuit.  Mystics stammer and gibber and rave incoherently in trying to discuss this.  Beethoven says it for all of them, without words, in the fourth movement of the Ninth Symphony.  The words of Shiller's "Ode to Joy," which Beethoven set to his virtually superhuman music, are a linear third-circuit map conveying only a skeleton key to the multi-level meanings of the 8-circuit "language" of the melodic construction itself, which spans all consciousness from primitive bio-survival to meta-physiological cosmic fusion."

Robert Anton Wilson, Prometheus Rising



“I wish it need not have happened in my time," said Frodo. 
"So do I," said Gandalf, "and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.”

J.R.R. Tolkien, The Lord of the Rings



20120323

Visions of Urbana 3.0: Waiting For The Worms


The Book of Abramelin, written by Abraham of Worms (c.1362-c.1468 A.D.) outlines an elaborately disciplined ritual designed to activate the Knowledge and Conversation of the Holy Guardian Angel.  It rose in popularity in the early 20th century due to an English language translation from the French by S.L. MacGregor Mathers of the Golden Dawn.

The operation is an extreme test of discipline, in which the participant must pray before sunrise and sunset, must practice chastity, sobriety, and must remain honest and true within all practices of life.  There is a great deal of silence and solitude within the operation, an operation that lasts 6 months according to Mathers.

In 2006, a new translation from the German version of The Book of Abramelin was released.


The first and most obvious difference between the two texts is the style of the writing itself.  I was delighted how easily and naturally Mr. Guth's translation flowed compared to the formality of Mather's King James style.  This I more or less expected. What I didn't expect was how the text itself differed in content.  First of all, the original book was comprised of four "books" instead of only three that are found in Mathers edition.  Second, we learn that the heroic six-month preparation program that is outlined in Mathers is actually a much more complex ceremony lasting eighteen months.


From Lon Milo Duquette's Forward to The Book of Abramelin: A New Translation
from translator Steven Guth and editor Georg Dehn:  


Also discovered in Book Four is a four letter word square for "traveling in the air on a cloud" that contains the letters NASA.


The Jupiter Mission in 2001: A Space Odyssey satisfies many of the components that are essential to the working of the Abramelin operation.  Chastity, sobriety, disciplined orders of business.  18 months in all.  


Is it possible that the Holy Guardian Angel spoken of in the Abramelin text revealed itself to those on board?  Bowman clearly goes through a transformative experience, but could HAL have inadvertently invoked an artificial Holy Guardian Angel too?  Would the appearance of this True Will within HAL be observable and communicated to those back on Earth?


20120318

Visions of Urbana 2.0: “do you prefer AOL cassettes or CD’s?”





"We sit here stranded though we all do our best to deny it"



 









"The Ghost of electricity"



open the        e        y        e                                   p        o        d           door HAL




"In this room the heat pipes just cough…"














"And Madonna, she still has not showed
We see this empty cage now corrode
Where her cape of the stage once had flowed
The fiddler, he now steps to the road
He writes every thing's been returned which was owed
On the back of the fish truck that loads
While my conscience explodes"
--Bob Dylan


20120315

Visions of Urbana: It Is Accomplishing Itself As We Tweet





The whole world of #'s works like chicken wire supporting our massive papier maché reality.  This matrix is just under the surface of the physical reality that surrounds us, and tends to reveal itself when our physical reality breaks down, either due to trauma or extreme stress typical of initiation.

For example, from 2002-2004, I began to notice that every time I casually looked at the time display in my alarm clock or microwave, I never seemed to miss a 9:11.  It never seemed to be 9:10, or 9:12, always 9:11.  The connection started slowly, but it soon became impossible to ignore.  I dismissed this as merely coincidence for awhile, but it continued with such regularity that it became something that I eventually felt I had to ask some close friends about.  "Hey, didja ever notice how often you catch 9:11 on the clock?"  Most said no, politely.  But surprisingly, after a few weeks, a couple of friends told me that even though they tried to dismiss it after a few times, the 9:11 Enigma started happening to them as well.  And it wasn't stopping.

Personally, I was already conditioned for this, as I had learned of the 23 Enigma from reading Robert Anton Wilson in college, and became astute at spotting them in just about any environment.  There is a certain madness associated with the 23 Enigma, as the playing filed is much greater than a clock.  The playing field for the 23 Enigma is the field of all reality, and when it starts to work its magick, it can really make you question your sanity.  It was only many years later for me to correctly question where my sanity was to begin with.

It's a very strange obsession to keep, and something that is difficult to explain to someone.  As I have said, I think these number enigmas are something that are usually revealed only to those in pain or under considerable stress.  I must have felt this on some deeper level because I never explicitly tried to turn anyone on to the 23 enigma because I was hesitant to confront the pain that I was in.

But the 9:11 enigma was in the public domain.  It wasn't related strictly to a personal pain or stress, it was a national pain and stress.  And with the war that followed, it became a global pain and stress.  The 9:11 Enigma didn't possess the abstract randomness of the number 23.  Everyone understood where it came from and why it was important.

Obviously, the 9:11 enigma evolved directly out of the tragedy of September 11, 2001, a day where trauma and stress bonded the majority of Americans to a singular moment and a singular reality, or as close to a singularity since the nation tuned in to find out "WHO SHOT J.R." (did it really just take me this long to connect the name of that show, "Dallas", with the implications of that question?)  Over the years, this # and this enigma has grown beyond the confines of just my alarm clock, and can now be found expressing itself in many varied forms.  My 9:11 Enigma wasn't "mine".  9's, 11's and associated imagery began popping up in countless  films, TV shows, and albums that predate the actual day of the tragedy, and taken as a whole seemed to offer themselves to a narrative of conspiracy and prophecy.

I have read many of the intelligent theories and many of the crazed conspiracies that suggest that some of these 9/11's from the past were indeed veiled expressions of awareness, privileged knowledge, or even psychic perception.  A sort of # as Defense Early Warning Radar System.  The best of these theories and speculations are mesmerizing, and at times make me feel as though they are indeed lifting a veil of ignorance from my eyes and increasing my general perception of the world around me.  But, is it a new Poetry or a new Pollution?


There is a new # that is making friends with the Nao (the Now), and it seems to be popping up everywhere.  There are speculations as to what this number might be foreshadowing, and how we might interpret its nature once we are beyond the singularity of the suggested event horizon.

This number is 42, and seems to find its most famous expression in the Hitchhikers Guide to the Galaxy and the films of Stanley Kubrick.  But look closely and you'll see that it's starting to pop up everywhere, and is embedded in countless mediums and expressions.

The above image is the glyph for Jupiter, a popularized representation of the number 42.  When most people speak of the 42 Enigma today, they are speaking with an understanding of this glyph and its associations, especially as a sigil-ized arrangement of a 1, a 2, and a 4.

I connect 42 with another Celebrity number lurking about:  2012.  This of course refers to December 21, 2012, which represents both the end of the Mayan calendar and the culmination of Terrence McKenna's Time-Wave Zero.  It has been interpreted as start of a possible Apocalypse or the date of a history defining paradigm shift.  Or maybe it will be just another day.  No one really knows for sure.

December 21, 2012 can also be written as 12-21-12.  All 1's and 2's.  What is apparent about both 42 and 12-21-12 is that we have 1's, 2's, and 4's, but no 3's.  Why is 3 seemingly being left out of the fun?



For thousands of years 3 has been the quintessential magick #.  We live in 3 dimensions,  history is comprised of the past, present, and the future.  We eat 3 meals a day, once in the morning, afternoon, and the evening.  There are 3 Jewels of Buddhism and 3 turnings of the Wheel.  Christian theology has The Holy Trinity, and Jesus was resurrected in 3 days.  The world seems to be comprised of Three major religions, Judaism, Christianity, and Islam.  The Three's go on and on and on...

The above image is that of pi, maybe the most important and practical mathematical constant ever discovered.  It is known as an irrational #, and has been calculated to an absurd detail.  The first number in pi is 3, and for convenience, let's say that the value is 3.141592….

Note that if we round up to the thousandth place, pi is equal to 3.142.  Hello 1, 2, and 4.

We see here that 3 stands alone, separated from 1, 2, and 4.  I think that if we can make a small leap of faith, and we entertain the  # as Defense Early Warning Radar System, maybe we can speculate a bit as to where this is all going.



42 and Beyond The Infinite

When pi is calculated, it extends further and further into the smallest of the smallest details.  The Deep End of the mental swimming pool.  As fascinating as this minute detail becomes, it is unnecessary from a practical perspective, and ultimately isn't getting us closer to any practical truth.  In fact, it is only just taking us further and further away from the lonely old 3, and we risk losing ourselves completely in a matrix of chicken wire, out of touch with the surface of reality.

So what does it mean to go "Beyond The Infinite"?  Must we continue to plunge deeper and deeper into the abyss of #?  Or has Pi taught us that returns on infinite calculations have little to no practical value.  Maybe the extent of Pi's practicality, and the best representation of Matrix and Matter is 3.142, and not

3.141592653589793238462643383279502884197169399375105820974944592307816406286208998117067982148086513282306647093844609550582231725359408128481117450284102wocka-wocka-wocka-wocka-wocka-wocka70193852110 55596446229489549303819644288109756659334461284756482337867831 65271201909145648566923460348610454326648213393607260249141273724 5870066063155881748815209209allworkandnoplaymakejackadullboy62829 25409171536436789259036001133053054882046652138414695194151160943305727036575959195309218611738193261179310511854807446237996274956735188575272489122793818301194912983367336244065664308602139494639wocka-wocka-wocka-wocka-wocka-wocka-wocka-wocka-wocka-wocka-5224737190702179860943702770539217176 29317675238467481846766940513200056812714526356082778577 134275778960917363717872146844090122495343014654958  5371050792279689258923542019956allworkandnoplaymakesjackadullboy112129021960864034418159813629774771309960518707211349999998372978049951059731732816096318595024459455346908302642.  


Icarus taught us we shouldn't fly too high, maybe pi and Jupiter are teaching us we shouldn't dive so deep.
(Don't ever take for granted just how deep 3.142 already is.)


Eschatonics

Terrence McKenna speaks very eloquently of massive events that not only shape the texture of the future, but they also shape the texture of the past.  September 11th, 2001 was just such an event, so massive, and so ubiquitous that the moment our future changed, many elements embedded in our past also changed, and were redefined instantly.  All of the related numbers and related imagery that once projected an unrelated truth absorbed the shockwave of the event and became entangled with both the moment and the emotional fallout.

42 seems to be establishing a solid foundation and positioning itself as this kind of numeric catcher in the rye.  It is ready to imprint and translate meaning.  42 is a kind of dark star waiting to happen.

"Shall we go, ewe and eye while we can?"



Not Nao Neo, Not Nao.