Helter Skelter Vol. 2: How Would He Know Where We're Going?

Pyramid Scheme
March 20, 2011

Klaus:

Rewatching this scene I thought, "Hey, them photos look like a pyramid, with no top". Guess who completes the image?



Hope you are hearing good news from overseas. Just thought I'd share this nugget.

Light 
April 2-3, 2011

Klaus:

I had a very long day, started at the Hospital (for nursing school) and finished up at work (bartending), and experienced an amazing amount of highs and lows, which ultimately revealed a sliver of the divine order, enough to carry me home in high spirits.  I hope you and yours are doing well.  Pax my brother.

LeClair:

Hey Bro,

Yeah man, I'm good. Just sort of undercover these days. I feel a little frozen. Not out of doubt, but out of a real sense of stupendous ignorance. All I feel certain of is that I am probably wrong about everything. It has a kind of a "Winston Smith" vibe to it, but it is not all bad. I have scored a copy of Inception, but have put off the experiment as yet. Just no heart at the moment, but I know it won't last... I'll get angry and want back in the game soon enough.

Interesting that you are studying nursing. I good nurse is, in my view, worth 100 doctors, and I ought to know, having spent a good portion of my life as a patient.

Peace to you and talk soon...

Klaus:

Yeah, I completely understand.  You gotta come down for air eventually.  Crowley in his best moments knew this.

For when you are ready:

Inception: I'm dead set on 2:03:05 for the start of side 1 of Meddle.

I'll write you back when Harry Potter drops and I can fine tune it a bit.

Good to hear from you!

A Good Read: McKenna on PKD
April 14-17, 2011

Klaus:

http://www.sirbacon.org/dick.htm

I UNDERSTAND PHILIP K. DICK

by

Terence Mckenna

1991
Afterword which appeared in the book : In Pursuit of Valis: Selections from the Exegesis edited by Lawrence Sutin

____________
True stories have no beginnings and neither does the tale of PKD’s encounters with the Overmind. But we writers understand narrative economy, and for purposes of narrative economy his story seemed to him to begin with the mysterious break in and riffling of his papers that was made notorious by an article in Rolling Stone, which brought Phil long-delayed and much-deserved fame. The break-in date was 11/17/71. It was a date and a style of referring to time that Phil used frequently.

I turned twenty-five the day before. It was no casual birthday either. I met my natal day by sifting down and sincerely preparing myself for an Apocatastasis, the final Apocalyptic ingression of novelty, the implosion really, of the entire multidimensional continuum of space and time. I imagined the megamacrocosmos was going to go down the drain like water out of a bathtub as the hyperspatial vacuum fluctuation of paired particles that is our universe collided with its own ghost image after billions of years of separation. The Logos assured me that parity would be conserved, all sub-atomic particles except photons would cancel each other, and our entire universe would quietly disappear. The only particles that would remain, according to my fantastic expectation, would be photons, the universe of light would be exposed at last, set free from the iron prison of matter, freed from the awful physics that adhered to less unitary states of being. All mankind would march into the promised garden.

I felt I was well situated for the event as I, quite consciously and deliberately, and to the concern of my friends, had placed myself in the teeming, hallucinogen saturated center of the largest garden I could find, the trackless rain forest of the Upper Amazon Basin of Colombia. My confidence in my vision was unshakable. Had not the Logos itself lead me to this vision, not only by revelation but by painstaking explanation? I had no radio, no way to contact the outside world at all. Who needed that? I knew with perfect clarity that the world of time, the illusion of history was ending. Divine Parousia was entering the world, and the just, the meek and the humble were leaving their fields and factories, pushing back their chairs from their office desks and workbenches and walking out into the light of a living sun that would never set for there could be no setting for the eternal radiance of the Logos. Tears of joy streaming down their cheeks, the illumined billions were turning their eyes at last to the sky and finding there a consolation that they had never dared hope for.

However, Nixon’s weary world ignored the eschatological opportunity I thought my brother’s inspired fiddling with hyperspace had afforded. The world continued grinding forward in its usual less than merry way. There was only one small incident that might subsequently be construed, even within the framework of the schizoid logic that was my bread and butter then, to support my position. Unknown to me, a struggling, overweight SF writer, an idol of mine since my teens, discovered the next day that his house have been broken into, his privacy violated by the Other. How peculiar that on the first day of the new dispensation in my private reformist calendar, he had been burglarized by extraterterrestials the CIA or his own deranged self in an altered state. The torch had been passed, in a weird way the most intense phase of my episode of illumination/delusion ended right where Phil’s began.

This raises some questions:

Can we refer to a delusional system as a folie a' deux, if the deux participants have never met and are practically speaking, unaware of each others’ existence?

Does the delusion of one visionary ecstatic validate the delusion of another? How many deluded, or illuminated ecstatics does it take to make a reality? PKD proved that it only takes one. But two is better.

When my brother looked over the edge in the Amazon and felt the dizziness of things unsaid in March of 1971, he came back with two words bursting from his lips, "May Day! May Day!"—the pilot’s call of extreme emergency.

May Day found me in Berkeley sheltered by friends so concerned about my state of mind that they considered committing me. I was only a few miles from Phil, who was rapidly going nuts too, as his psych admission of 3 May ‘71 attests. It was always like that with PKD and me. We never met but we lived around each other for years. In Berkeley, we both lived on Francisco St. within five blocks and a few years of each other. We both had roots in Sonoma County, in Orange County. How many times were we a table or two away from each other in the Cafe Med? How many times did I hurry past him on the Ave on some stoned errand? Later his homeopathic doctor was my doctor. There is a garbled mention of me (or my brother) on pg. 74 of this book.

Yah, yawn, the world is fuckin’ strange, right bro?

Wrong. Or rather, of course, sure. But that is not the point, the point is that I understand Philip K. Dick. I know that sounds like hubris and if I am wrong I am sorry (as*Phil says somewhere.)

(as* PKD lived at 1126, then a few years later and for six months I lived at 1624.)
But part of the delusional system in which I live contains and adumbrates the notion that I know what happened to the poor dude. We shared an affliction, a mania, sort of like Queequeg and Ishmael. And like one of those whale chasing sailors "I alone escaped to tell thee of it".

Phil wasn’t nuts. Phil was a vortex victim.* Schizophrenia is not a psychological disorder peculiar to human beings. Schizophrenia is not a disease at all but rather a localized traveling discontinuity of the space time matrix itself. It is like a travelling whirl-wind of radical understanding that haunts time. It haunts time in the same way that Alfred North Whitehead said that the color dove grey "haunts time like a ghost."

There is an idea that wants to be born, it has wanted to be born for a very long time.** And sometimes that longing to be born seffles on a person. For no damn good reason. Then you’re "it," you become the cheese, and the cheese stands alone. You are illuminated and maddened and lifted up by something great beyond all telling. It wants to be told. It’s just that this idea is so damn big that it can’t be told, or rather the whole of history is the telling of this idea, the stuttering rambling effort of the sons and daughters of poor old Noah to tell this blinding, reality-shattering, bowel-loosening truth. And Phil had a piece of the action, a major piece of the action.

But I anticipate myself. Those who grasp a piece of the action end up with two things on their plate; the experience and their own idiosyncratic explanation of the experience based on what they have read, seen and been told

__________
* "ZEBRA (VALIS): ‘a vortex of intelligence extending as a supra-temporal field, involving humans but not limited to them, drawing objects & processes into a coherency which it arranges into information. A FLUX of purposeful arrangement of living information, both human & extra-human, tending to grow & incorporate its environment as a unitary complex of subsumations.’"(pg. 72)

** "Okay, fertilization is what takes place: it isn’t a seed such as a plant has, but an egg such as a human woman ovulates, and cosmic spermatika fertilizes it; a zygote is produced." (pg. 22

The experience is private, personal, the best part, and ultimately unspeakable. The more you know the quieter you get. The explanation is another matter and can be attempted. In fact it must be told, for the Logos speaks and we are its tools and its voice. Phil says a lot of things in the Exegesis, he is aware that he says too much, so he keeps trying to boil it down to ten points or twelve parts or whatever. I have my own experience, equally unspeakable, and my explanation, equally prolix. Phil (sometimes) thought he was Christ,* I (sometimes) thought I was an extraterrestrial invader disguised as a meadow mushroom. What matters is the system that eventually emerges, not the fantasies concerning the source of the system. When I compare Phil’s system to mine, my hair stands on end. We were both contacted by the same unspeakable something. Two madmen dancing, not together, but the same dance anyhow.

Truth or madness, you be the judge. What is trying to be expressed is this: The world is not real. Reality is not stranger than you suppose, it is stranger than you can suppose. Time is not what you think it is.** Reality is a hologram.*** Being is a solid state matrix and psychosis is the redemptive process ne plus ultra.**** The real truth is splintered and spread throughout time.

__________
* "1 am a homoplasmate: Zebra acting in syzygy with a human." (pg. 79 but also: "Did I do something? Absolutely. But I don’t know what I did, so I don’t know who (so to speak) I am in the drama." (pg. 42.)

** "If the Logos is outside time, imprinting, then the Holy Spirit stands at the right or far or completed end of time, toward which the field-flow moves (the time flow). It receives time: the negative terminal, so to speak." (pg. 64.) See also "If there is to be immortality, there must be another kind of time: one in which past events (i.e., the past in its entirety) can be retrieved—i.e., brought back. I did experience such a time." (pg. 79.)

*** "It (reality) is a hologram. 1) My augmented sense of space proves it. And 2) the information element; consisting of two parts: set and ground.

"All this points to: hologram. Based on two information-rich signals." (pp. 98-99.)
**** "The Gospels, then, depict a sacred mythic rite outside of time, rather than a historical event.

"Note: This whole process can be regarded as a psychological transformation, that of a redemptive psychosis." (pg. 95.
Appearances are a vast and interlocking lie.* To finally know the Logos truly, if that means anything, is to know it as for, as what Phil called a "unified abstract structure." In a way this was where PKD went wrong. It wasn’t his fault. He saw that the world of 1975 was a fiction and behind that fiction was the world of AD 45. But he lacked an essential concept, lacked it because it really hadn’t been invented yet. Anyhow the man was a SF writer and a scholar of classical philosophy, he could not be expected to stay in touch with arcane discoveries beginning to take place on the frontiers of research mathematics. But he got very close, his intuition was red hot when he reached the conclusion that a unified abstract structure lay behind the shifting always tricky casuistry of appearances. The concept he needed was that of fractals and fractal mathematics. The infinite regress of form built out of forms of itself built out of forms of itself * unto infinity. The principle of self similarity. Phil was right, time is not a linear river. He was right, the Empire never ended. Parallel universes is too simple a concept to encompass what is really going on. The megamacrocosmos is a system of resonances, of levels, of endlessly adumbrated fun-house reflections. PKD really was Thomas and Elijah and all the other precursive concrescences that came together to make the cat-loving fat man who compacted trash into gold. The logic of being that he sought, and largely found, was not an either-or logic but a both-and and and-and kind of logic.

_____________

* "Probably the wisest view is to say: the truth—like the Self—is splintered up over thousands of mile and years; bits are found here and there, then and now, and must be recollected; bits appear in the Greek naturalists, in Pythagoras, in Plato, Parmenides, in Heraclitus, Neo-Platonism, Zoroastrianism, Gnosticism, Taoism, Mani, orthodox Christianity. Judaism, Brahmanism, Buddhism, Orphism, the other mystery religions. Each religion or philosophy or philosopher contains one or more bits, but the total system interweaves it into falsity, so each as a total system must be rejected, and none is to be accepted at the expense of all the others..." (pp. 111-112)
PKD was never more right than when he wrote:

I actually had to develop a love of the disordered & puzzling, viewing reality as a vast riddle to be joyfully tackled, not in fear but with tireless fascination. What has been most needed is reality testing, & a willingness to face the possibility of self-negating experiences: i.e., real contradictions, with something being both true & not true.The enigma is alive, aware of us, & changing. It is partly created by our own minds: we alter it by perceiving it, since we are not outside it. As our views shift, it shifts. In a sense it is not there at all (acosmism). In another sense it is a vast intelligence: in another sense it is total harmonia and structure (how logically can. it be all three? Well, it is). *
One cannot learn these things. One can only be told these things. And it is the Logos that does the telling. The key is in the I Ching, which Phil loved and used but which occupies a disappointingly small fraction of his ruminations in the Exegesis.** Almost as if the counter flow, the occluding intelligence, kept Phil’s eyes diverted from the key element necessary to the universal decipherment that he was attempting. Time is a fractal, or has a fractal structure. All times, moments, months and millennia, have a pattern; the same pattern. This pattern is the structure within which, upon which, events "undergo the formality of actually occurring," as Whitehead used to say. The pattern recurs on every level. A love affair, the fall of an empire, the death agony of a protozoan, all occur within the context of this always the same but ever different pattern. All events are resonances of other events, in other parts of time, and at other scales of time.***

_____________

* (pg.91.)
** "MITHC seems to be a subtle, even delicate questioning of, what is real? As if only the 2 books in it, GRASSHOPPER & the I CHING are really the only actual reality. Strange." (pg. 181.)

*** "Through anamnesis and restoration to the Form realm you have access to several space-time continua based on your universals." (pg. 102.)

The mathematical nature of this pattern can be known.* It can be written as an equation, just like the equations of Schrodinger or Einstein.

The raw material, the Ur text, out of which this mathematical pattern can be drawn is the King Wen sequence of the I Ching. That is where the secret lies. In the world’s oldest book. Of course. Once possessed the pattern can then be discerned everywhere. Of course. It is ubiquitous. One of Phil’s favorite words. I know this because the Logos taught me the pattern and I escaped the black iron prison of the world to tell thee of it. I have published it, I have lectured it and have had it written into software. My books are on the way, some with Phil’s old publisher Bantam. I would bet dollars to donuts that if Phil had lived to see, to feel, and to understand what this PKD-inspired servant of the Logos has managed to drag home from the beach, he would embrace it. This cannot be said without sounding like a madman or a jackass. I am sorry about that. As Phil Dick said,

"What’s got to be gotten over is the false idea that hallucination is a private matter." **
What is important is that the birth of this idea is now very near, has in fact already happened, and PKD showed the way. The answer is found. And this incredible genius, this gentle, long-suffering, beauty-worshipping man showed the way. When it counted he was right. All hail Philip K. Dick.

-Terence McKenna Occidental, California
June 1991

______________

* "The agent of creation (Logos or Forms, whatever called) is at the same time the abstract structure of creation. Although normally unavailable to our cognition and perception, this structure—and hence the agent of creation can be known..." (pg. 125) Also, ". this insubstantial abstract structure is reality properly conceived. But it is not God. Here, multiplicity gives way to unity, to what perhaps can be called a field. The field is self-perturbing; it initiates its own causes internally; it is not acted on from outside". (pg. 127). Also, "‘The agent of creation is its own structure’. This structure must not be confused with the multiplicity of physical objects in space and time governed by causation; the two are entirely different. (The structure is insubstantial, abstract, unitary and initiates its own causes internally, it is not physical and cannot be perceived by the human percept-system sensibly; it is known intelligibly, by what Plato called Noesis, which involves a certain ultimate high-order meta-abstracting.)" (pg. 128). And finally: "1 ... posit ontological primacy to the insubstantial abstract structure, and, moreover, I believe that it fully controls the physical spatiotemporal universe as its basis and cause." (pg. 129)


LeClair:

Hey WK,

As we discussed, I have been in the doldrums lately, and very worried about the future of the human race--pretty much impossible to enjoy things.  Lately, though, my mood has become positive.  I am ready to do some more iahuasca.  I have visitors right now, for the next few days.  Some old friends with interest similar to our own.  I plan to share the Inception mash-up with them--it turns out we saw the movie together, in the theater, so I'm primed for a good time.

Anyhow, just wanted to drop a line to say hi.  I'm also looking forward to the Deathly HALlows mash up.  Jesus man, this has turned out to be an expensive addiction... but worth it.

Pax Owt and Talk Soon

Klaus:

Potter:  timecode for DVD, start* at 0:25.  I'm repeating myself, but it's worth it to view the first time with no subtitles.  

Glad to hear your spirits are improving.  Looking forward to your thoughts.

*Dark Side of the Moon

Exejesus
May 8-9, 2011

Klaus:

Just dropped the dough for the out of print "Selections From The Exegesis".  Good stuff.  Send me some good vibes bro.

LeClair:

Hey WK,

How are you? Sorry to be so long in a reply... I feel encased in stone these days. I have done the Deathly Hal-lows mash up and I was blown away. I don't even know where to start talking about it, except to say that I continued with the experiment into Three plays of the album and I wasn't disappointed. And all without subtitles. You may think that I jest, but to me the film is much better to Floyd than it is on its own. The visual/musical clues are profound. I nearly gasped when the wind blows through the leaves of the small tree next to Harry as he stands in the doorway of his old home. It was a truly magical experience.

I have written very little lately, and am finding it tough to get back into the swing of it.

Like most occult researchers, I am following the connection between Obama/Osama--The Mid West Disaster-The Royal Wedding--The Beatification of Pope John Paul. Events which to my thoughts are One in the Same. I have my own Wrong Way Twist, of course, but I just don't have a heart for it lately, and for some reason, I have developed a Techno-Phobia of late. I have been avoiding my e-mails and such, and watching funny animal videos on YouTubes, in the place of my usual vigorous curiosity.

My god, I may be de-evolving here!

Pax and Comfy Slax

Klaus:

Hey Mark-

Always good to hear from you.  Thanks for checking out the Hallow Floyd, i'm glad you appreciated it.

I hope you have heard encouraging news from over seas, and that the turbulence of the world isn't too much of a strain.  It certainly is a rough sea out there right now.

As I tend to believe, the artists mind must hibernate, must retreat and allow the deeper mind a chance to process before birthing the big ideas and the big pictures.  Rereading your essay on A Serious Man, it's clear to my eyes that there isn't anyone in your league.  I know your next creative season is going to be a monster.

Keep the faith man.

Inception Mash 
May 25, 2011

LeClair:

Hey WK,

I did the Inception Meddle link up and I was blown away. Many ideas. The big one that jumped at me is Cobb's return to the US. Of course, the supreme context of this scene works just exactly because the rest of the mash is so nice. When I watched, the US return at the airport was on par with some of the great "knowledge drops" of my career as a watcher. I have seen Inception in a radically new light. The movie appears to be about the purging of Evil from Cobb's soul as he attempts to cross the threshold that separates himself from "The One". The whole "France is Evil and the U.S. is Good" theme gives it a real War on Terror sort of feel, mixing as it does with the many international travel arrangements and proper documents necessary for Cobb to "get back home" . And recall how the Devil Merovingian in The Matrix was French. And of course Mal is franc-ish for Evil. Inception, seen in this way, is about a mystery system, operating upon Cobb alone, to quite literally whip the Devil out of Him. I also detect a Catholic pedophile priest redemption code in the Fischer subplot. And all of this I somehow missed before the use of your mash up instructions.

I could write about this matter at length, but I am not ready. I feel a need to redefine the nature and message of my work, indeed my life, in a big way. My trip to Japan and recent world events have changed me somehow, and I don't think I have figured out how to represent those changes. Time will tell, I guess, but in the meantime, thanks again for the bitchin' intel and keep in touch.

Pax to the Max

Klaus:

I was wondering when this mash was going to hit.  It's just so completely seamless.  So many things tie together in it, and it continually reveals treasure upon each viewing.    

2001, Kubrick, Wizard of Oz, Floyd, Nolans work, etc.....the tornado/totem/record player, the headphones awakening them to reality, but to work in the cover of the album is stunning ("you say the hill's to steep to climb").   And yes, I completely agree with your read on Cobb's redemption.  Flow, my tears, heavily as I watched that rearrival scene the first time.  Epic.  

I might be repeating myself, but the childrens names in Inception are James and Philippa, clearly an homage to Joyce and Phil K Dick, as the writings of those two must have been huge influences to Nolan.

Again, I HIGHLY recommend the Selections from the Exegesis book...though it is a bit pricey.   The sections where PKD discusses his total body of work and how they are interelated is incredible.  Of course, a solid knowledge of his novels helps.


Good to hear from you as always.  

Helter Skelter Vol. 3

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

 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

 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

 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

 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

 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

 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

 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.

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

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

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