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Saturday, November 18

  1. page THE TURNTABLES OF THE TRIBE edited NO PARKING GARAJ FLY HIGH SIERRA by flyagaric23 "he just went heeltapping through the wine…

    NO PARKING GARAJ FLY HIGH SIERRA by flyagaric23
    "he just went heeltapping through the winespilth
    and weevily popcorks that were kneedeep round his own right
    royal round rollicking toper's table, with his old Roderick
    Random pullon hat at a Lanty Leary cant on him
    http://www.lycaeum.org/mv/Finnegan/viewpage.cgi?page=381
    Tribetablism v1.0
    In November 2008, after relocating to Amsterdam I started work on what I thought would become my first Novel but soon transformed into a website and multimedia project including screenplays, video, poetry and a special principle that I have dubbed 'Tribetablism': In short an esoteric Turntable ceremony that enables the disk spinner to basically time-travel, and in my 'Tribetablism' Universe, the Disks are set for 1936 and a series of meetings and work outs between various characters from Dr. Wilson's tribe, mentioned at the back of his book TSOG, that I highly recommend you read again, and gain.
    "In placing these striking and active images of notable personages on the wheel, Bruno is pursuing his aim of combining ithe classical art of memory with Lullism. The revolving wheels of the Lullian art have become the places for the reception of images.--Frances A. Yates. The art of memory, pg 219.
    ALTABLISM.
    (from Open Source History)
    "At length, E. K. was willed to go down into his chamber, and I did remain still at our Dineing Table till his return, which was within an hour or somewhat more. And at his return this he brought in writing....--John Dee, 420.
    "Three things that must be done before you do anything: Discover who you are, discover where you re in the universe, take steps to clean up and order your environment so you can begin the conquest of your universe. -- Lon Milo Duquette
    ALTURNATABLISM.
    "If such power , as experience suggests, is
    latent (though rarely Released) in the simplest words,
    one would like to characterise the words More exactly.
    Are they the oldest? They ought to be somehow the core
    of Language, identifiable by tracing its history backward. –Hugh Kenner, The Pound Era, page 108.
    TOC-TOWARDS-TURNTABLE-METHODS-FOR-MASS-TOWARDS TURNTABLE METHODS FOR MASS-NOVEL CONSTRUCTION.
    The Altable method devised upon extensive travels around Europe over the last four years, is a new method retrofitted for the specific purposes of a literary based historical working - concerning characters and their dialogue - arranged and spliced with each other using the Altable.
    The goal of building a NOVEL using the Altable method is just one use and one focused project to help launch the idea, afterall, the software coded, pressed and sealed into the disks can be whatever the Altable operator wishes to work with. Here i will explore some avenues of Altable technology as a scientific research tool, by deconstructing the components and then reasembling them using biological and human physiological metaphors.
    Traces made upon the surface of a lake by a finn, leg or a wing or impressions found in mud or wet clay, impressions left by a foot or hoof, a hair or a finger are possible Altable processes impressed into the landscape and readable by a suitable stylus, amplification process.
    Recordings of processes in nature are translated by linguistic metaphors into a tale for us to reinterpret, and then a new image. Spacetime binding creatures are cutting their way through a given medium leaving traces, made by objects and recorded by the objects that made them.
    Balance (x), Tone (y), Volume (z).
    Disk Templates:
    Astrological Charts. Harmonic Musical Intervals and Chords. Enochian. Chinese Ideogramic. CNS RNA/DNA Genetic. Periodic Table. Mayan Dresden Codex. Beth Luis Nion.
    Disk Mediums:
    Wax. Clay. Wood. Glass. Metal. Stone. Pearl. Flesh. Papyrus. Fungus. Perspex. Vinyl. Cuttle Fish bone. Calcium.
    Etching agents:
    Saliva. Water. Spice Dyes. Blood. Sperm. Dew. Coconut milk. Chalk-Calcium. Toad-slime. Venom. Ink. Tears.
    TOC-2-.-MICROPHONE-WAND:(2). MICROPHONE WAND:
    Fingers. Bones. Veins-cables. Hairs, Stems, Veins, Penis, snake, tongue, neck, limbs,Brush, Wand of fire. Totem. Table legs, SOUTH.
    The tubular wand geometrical model of the Tribetable Universe itself: an elongated donut. A hollow Tube. An infinite string stretch off to infinity in both the macro and micro scales, putting human beings roughly mid way between these extreme conditions of the hollow halo. Within the secret chamber wells of each nerve, worm-hole, root, string, cable, tree trunk, and hair we find conditions and certain Oscillation rates depending on geometrical and other factors, that, are exploited and modified in various was by the microwand-phone of fire when in use.
    The great totemacrophone contains the Altable Universe itself, or a scaled down copy of it, within its endless tube. (created by more mirrors and optical technology). The Butterly microphones or microphones with wings can flitter about the Altable area, or plug themselves into a nearby mixer interface. Redecorated as an attractive flower, where the tongue of the Butterfly links its hollow tube into a cosmology of inner blooming things. A collide-o-scope and phalanx of mysterious objects and beings as you will, for example.
    TOC-3-.-CUPS-HEADPHONES:(3). CUPS HEADPHONES:
    Sockets. Mouth. Lungs. Skull. Nose Cavity. Boobs. Buttocks. Blow holes, mouth, coconut shell, jelly-fish, flowers.Pond Water. Mirror. Taste. Tongue. WEST.
    The headphone Cups also attatch to the mixer interface like the macrophone, using a cable, vine-tube. They provide both audio and visual feedback windows into other timespaces under observation and manipulation. Used either together as stereo headphones that split a single character dialogue channel or macrophone recording or provide two further seperate screens that can either each play a stereo or mono channel.
    Visually the Heaphone Cups double-up as doodle-goggles, the head strap that links the two hemispheres of the speaker-phones contain an organic liquid crystal screen that provides similar multi-stereo views and/or single editing windows, possibly used to animate specific characters and dialogue into the landscape space or scene. The headphone cups also have an attatchment that reaches into the mouth to access the tongue and taste centers for further attenuation and synesthesia of the senses. Sight, Sound, Taste, Touch, Smell. Various frequencies and rhythms are programed triggers for associated gases, vapours and pheromones to be released in the vicinity of the altable.
    TOC-4-.-STYLUS:(4). STYLUS:
    Teeth. Tongue. Finger. Penis. Eyelash. Hairs. Sword, beak, tusk, claw, antennae, sting, tip, crystal, Calcium Build up, Icicle, to Cut to split with knife-blade, Stylus Cutting head, NOSE-AIR. East.
    The cutting and etching function of the Altable styli’ combines with the electromagnetic pick-up stylus making a read/write sword/pen that encodes things made available from the internet of things, its groove signiture or scratch pattern is the code for accessing the web based archives and sound-image-chemical Shermon-Torrents. The Rhythm, the sound and the colour, the form? Within the realm of biological nature , the muck on your shoe, here we find cutting ants, hammering birds, clawing mammals, A walrus tusk stabbing at the ice, beavers teeth, maybe knawing upon logs and trees fallen in a river.
    TOC-5-.-TURNTABLE:(5). TURNTABLE:
    Waist. Neck. Eyeballs. Rotating Platform. Ball and Socket joint. Slices off the Tube donut. Tortoise. Disk Platter. Tank turret. Axis. Omnidirectional Spirit.
    Each component of the rotating Altable device are constructed from a sub group of elements, from the periodic table of elelments, and so on into fields and deeper into spirits, winds and back to stars. A backtoback cosmology of the manifest Universe. Gas exchange and invisible forces as light as the wind animate the disks: Change and fluid Rotorio. The Revolutionary process of Change and becoming remains changed. The rotating platforms within the Altable Universe are spacetime-tables for the sound spirit to congress around.
    The PIVOT. The axis and the vortex, the measurable rotational rates, torque and breaking settings enable extra manipulation of the software, combined with the operators editing wisdom. Placed within the context of the magickal pentagram of five elements, the rotational qualities of the Altable functions enable read/write activity utilizing the Stylus, when used in conjunction with a Microphone. With the addition of some in/out portals for the headphones cups and macrophone wand the Altable - when HYPERLINKED - consists of the 4 main elements and itself as the fifth.
    MCGRAPHIC' Novel Landscapes can be read/written and interpreted - processed in novel ways, such as using an elaborate system of optics and mirrors that can map, translate and calculate the truly cosmic equations of Universe subtracted from itself, when attached to the rotating platform at a precise frequency based upon the frequency of a flashing strobe light. This strobe light addition to the Plush 9.0 Altable turns the device, effectively into an audio/visual projector. We at Joint Plush Labs work on the other side of time. MPHDJ Pattern identity based on the resolution of opposites.
    * Tablet Run* Bat Runlet * Tablet Urn * NU Art Belt * Battle Urn * Terntabul* Tale Burnt * Battle Run
    Neuro-chemical Info-genetics, and Nano-scale cognition constructors are areas of Altable research Plush currently finds interesting and suggests independent researchers, thinl again,and pursue cognitve language tools with research based experiments. Rhythm patterns transcend any given medium from sound through light to the sense of the matter. VIBRATIONS ensure a full spectrum of considerations when trying to measure gas.
    TOC-TURNTABLE-COMPONENTS.TURNTABLE COMPONENTS.
    “every external phenomena is like a dream, like a vision, like a bubble, like shadow, like dew, like lightning, and should be regarded as such’ –From the Diamond Sutra.
    Aiwass Switch [TTT on/off]
    RPM selector [33/3, 45, 78]
    Plank Platter [Base]
    Gyre Spindle [Axis pivot of Silver Birch composite]
    Shannon Strobe Light [Illuminating beam & holo-guidance system]
    Pro-skate Dirac dial [To adjust needle-groove coordinates]
    Einstylus [Obsidian/Volcanic Sillica/Diamond tipped]
    Compton Cartridge [Transform needle vibrations into electromagnetic]
    Tone Arm [Straight or S-shape]
    Hubble Height Adjust [Raise/Lower a Dimensional tone-army]
    Newtons Crewing lever [Lifts/drops tone arm]
    Maxwell Pitch Control [Sliding adjust control for fine key mixing]
    Jung Junktion Box [Portal connextion to external devices]
    Wiener Wireless Port [Facilitates wireless bluetooth communication]
    Hamilton Feet [Four adjustable feet/wheels for mobile activity]
    Parsons Fly’t Case [Watertight coffin for transportation in various environs]
    Neumann Dust Cover [Retractable transparent protective shielding]
    TOC-ALTABLE-TRIBETABLE-COMPONENTS-2.0ALTABLE-TRIBETABLE COMPONENTS 2.0
    Disks contain nano-bio-cog information pressed and sealed for any particular altable working, in this case the 1936-2010 co-ordinates:
    Disk 1. A-side: Giles Chase. B-side: R. Jacky Muller
    Disk 2. A-Side: Ira Pod. B-Side: Carson Wools.
    Disk 3. A-side: Cutler Bates. B-side: Manfred Humanski.
    Disk 4. A-side: James Shermon. B-side: Sonny Bob.
    Each disk has audio/visual information concerning a specific character and their networks within the tale. Their individual methods, drives, styles, forces cut the historical grooves into the present. The disks can be manipulated by the hands, feet, tongue or elbow of the MPHDJ operator.
    Steering the Einstylus needle to intersecting points in spacetime, producing conversational fragments and bits of communication. Spin-back or forwards produce sound bites or map coordinate to be interpreted by the operator. By lifting the stylus-sword off and out of the groove and moving it along to the next track can produce a dimensional shift. The method of cutting and editing 'on-the-fly' with dialogue disks is under daily modification, and requires preparation and tedious disciplinary exercises to remain relative.
    The method builds toward an efficient way to analyze any sentence or sequence of words in a novel creative Tribetablist' way, and so opening the gates of perception to new arrangements and possibilities. The table top design was a John Disk/Esther Trippleknit piece crafted from bio-organic components, as to perfectly intersect with the operators tribetable tools, and co-ordinate the historical characteristics under investigation.
    Roughly the size of a squared pool table, the four legs of the altable are each individual tribetable Totems themselves consisting of heads and self regenerative designs stacked upon each other, to form correspondence with the other three legs and Hamiltonian Qarternion Mechanics.
    TOC-ALTABLE-TOOLS:ALTABLE TOOLS:
    The first tools used are the Picture-Disks that consist of 4 double sided 11 inch wax sigils, each placed upon the four corners of the table in their corresponding elemental positions, while the keystone disk sits in the middle like a panopticon.
    The second tool used is the Brush Microphone Wand BMW which functions as a multipurpose - rod shaped object - made up of different species of wood lamenated together. The wand has a tiny microphone speaker embedded within the tip and Ostrich hairs held in the opposite end which can be used for applying various textured and colored media. To anything at the table.
    The third tool is an elaborately carved diamond tipped Toad-Fly stylus sword, the diamond tipped stylus needle is held by a silver cast fruit fly, which in turn is held in place by the tongue of a Gold cast Toad, the toad serves the function of the traditional stylus cartridge, the fly’s proboscis acts as the tip of the needle.
    The fourth of theTribetable tools are the speaker drum cups. These fit into the table at critical nodes to process, amplify, translate, and mirror the signals they receive and transmit. Together, these tools and their correspondences within the historical tale, present a new-structure for the Novel to unfathom for itelf in the later editing and re-arrangement processes.
    The Altable-Tribetable itself becomes a fifth element. The center piece of the research tabaltar, which all the other tools plug into in various ways at various moments modifying their function in imaginative ways. Beneath the material realm of mechanical and electromagnetic components an assortment of biological nano-scale chlorophyll projectors, tiny engines and processors are spewing liquid crystal coated spore-bricks and lucerferin inside micro-micro-droppers. Together the tiny machines read and write information from the symbol systems rotated beneath the plank scale to make Nano-Graff RSS feeds to the sub atomic realms.
    Millions of Delicate and tiny photons are dispersed from the rim of the rotating platter called tsar-bits, the diamond tipped styli make analogous cuttings of these bits, calculated by using astrological coordinates, these processes continue way down beneath the range of natural human vision. The various maps, charts, and symbols systems from each of the major historical characters fit onto the platter area for the operator to manipulate, modulate, amplify, set into phase, make stereo, cut-up again, juggle, scribble, rewind, juggle, scratch.
    The Tribtable itself turns the Microphone, Disks, Stylus, Speakers (MDSS), and these FIVE ELEMENTS outline the functional tools used for creating a TTOTT timespace machine.
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    [[include component="tagCloud"]]
    www.flyagaric23.com
    (view changes)
    3:14 pm
  2. page TRIBETABLE TALE OF THE TRIBE edited TRIBETABLE TALE OF THE TRIBE Open Source History COMING IN 2018... {https://sites.google.com/s…
    TRIBETABLE TALE OF THE TRIBE
    Open Source History
    COMING IN 2018...
    {https://sites.google.com/site/ourhistorysback/_/rsrc/1256782119077/Home/ohb%2017%20final%20no%20laser.JPG?height=150&width=200}
    Turntribal Tales of The Tribe

In Amsterdam, DJ Plush is busy preparing his tribetable’s for the AMANTA MCARA working or the trans-time pitch shift shuffle routine.
    (view changes)
    3:10 pm
  3. page TRIBETABLE TALE OF THE TRIBE edited ... on July 31, 1936 a time-space portal or ‘holographic projection’ is constructed, enabling huma…
    ...
    on July 31, 1936 a time-space portal or ‘holographic projection’ is constructed, enabling human beings alive and breathing at that time to be shifted into new orbits and share information, conceivably speeding up evolution through innovation and wisdom.

Preventing wars and replacing them with periods of innovation and shared Global development leads to wirless energy, solar energy, hemp fuel, and Global internet by 1984, all humanity are projected forwards from the point of view of living together with clean energy, co-operative sharing of resources, Global trade and tolerance for self ownership. Nations of sovereign self-owning ones.
    The Tribetable Tales are the ‘stories’ spun from special disks that have been recorded, edited and reworked into a network of TTOTT events, an interactive Novel, a shared course, a new map for the ttott territory. The future seems pist. 

However, the Tribetable Tales traverse various medium’s and are presented in the form of poems, postcards, albums, posters and screenplay’s, and a Novel Novell published in light. Together these artefacts make up the coordinates for a multiple model of TTOTT, and the authors own process.
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    3:10 pm
  4. page SAUL PAUL SIRAG INTERVIEW edited GANGA PUJA: FIBONACCII PROJECT (SECRET CHAMBER ARKESTRA) by STEVEFLY Interview with Saul Paul S…

    GANGA PUJA: FIBONACCII PROJECT (SECRET CHAMBER ARKESTRA) by STEVEFLY
    Interview with Saul Paul Sirag, 'featuring Bucky' by fly.
    Almost ten years ago after a series of close encounters I conducted an interview with the legendary 'Saul Paul Sirag' in San Francisco, shortly after meeting with Dr. John Lilly at the 'Guilding the Lilly symposium' where Saul lectured on 'The Laws of Form' by G. Spencer Brown.
    In the following interview Saul gets at some of the 'geometry' and 'math' that I wanted to highlight this week, as, I think it sheds light on Buckminster Fuller, and to a lesser degree Pound's 'Ideogrammic method' or attempts to capture the 'emerging properties' and 'processes' we find in science and mathematics, and translate them through literary means (and/or pictographic methods).
    Like many of my interview's and blog posts on-line, I built them with 'hyperlinks', and the 'Saul Paul' interview--due to the many technical terms--benefits from being read with 'wikipedia' or such encyclopedias at hand.
    You can read the hyperlinked version, here:
    When I recorded this interiew in 2000 A.D. on minidisc recorder I had no way to transcribe and upload the results, and there was no wikipedia to enhance the wisdom of Saul. Big thanks to Jack Sarfatti, please spend a moment at his new website: http://www.stardrive.org/ FLY interviews Saul Paul Sirag: FLY: Robert Anton Wilson? SAUL: Yeah, i first introduced him to Jack, SAUL: Yeah, well he learned about this Bell's theorem stuff from Jack and me, i introduced Jack to Wilson, that was when he was living in Berkeley. FLY: Oh, the trick top hat SAUL: what? SAUL: The trick top hat', oh, yeah, the trick top hat, yeah that’s the next one i think, and the third one is called 'homing pigeons', trick top hat is the one that has references to both Jack and Me as coming up with futuristic kind of physics that changes things drastically and so on. FLY: That’s interesting as John Lilly just recently spoke about the...erm...form of law SAUL: Laws of form? FLY: yeah, and the trick top hat relates to that somehow? SAUL: I'm very interested in the Laws of form also, yeah he talks about it in both his fiction and he has written a lot of non-fiction too of course, and maybe more none-fiction than fiction actually, although, you know he's one of these people that mixes the two together a lot, kind of like Borges' the Argentinean writer, well, B draws a fine line between lit. criticism that is not fiction and the fiction that he's criticizing, B's criticism is so speculative and interesting that it reads almost as fiction, you know. FLY: I like the idea of exploring our unreality's. At the back of the book "Secret Chamber by Robert Bauval" there's an appendix in which the author mentions Wilhelm Reich and something he calls Cosmic ambience. Terence Mckenna is quoted at length, talk of probing into unreality's, but now were realizing that's our reality too. SAUL: One of the most important pieces of criticism that's really fascinating, and it's about that famous British poet - William Taylor Coleridge - and you see what's interesting about that poem is that Coleridge calls it a - fragment of a poem - the reason he calls it a fragment is that he actually dreamt' the whole poem, he woke up and just started writing it down, but he got the first part of it written down, and a visiter came and visited, and he forgot the rest of it, so he calls it a fragment of a poem anyway, its a beautiful poem all by itself, but here's the weird thing that Borges points out - there really was a Khan who was a builder - and he was the grandson of Genghis Khan; who was just a conquerer, but Kubilai Kahn was a builder. What Coleridge never knew is that Kubilai Kahn really did order a pleasure dome to be built, and that was enough, but what wasn't known in Cooleridge's time is that it itself was an incomplete building, and that was discovered by archeologists after Cooleridge's time, eh, so what Borges says is there's a kind of archetype, a vast archetype thats trying to get in through our reality, the first time its comes in the form of a building Kubilai Kahn wants to build, and for some reason its not completed, and the second time it takes the form of a poem about Kubilai Kahn's building, and that's incomplete too, because of this guy who walks in and disturbs his memory of the dream. So then Borges speculates that it will try to come in a third time, and he thinks that the form will be different, in some way. My feeling about that is that the form, having my own prejudices about forms, is that the form is what Mathematicians have discovered, a beautiful set of structures, they call it the Coxeter graphs, named after the canadian H. S. M. Coxeter, who's still alive in his 90's still doing math very accurately, and he invented these graphs in the 1930's to classify hyper-dimensional crystal structures, well that already sounds like Kubilai Kahn and Coleridge - and then in the 40's totally independent of Coxeter'mathematicians work because it was in a totally different part of mathematics, a Russian mathematician named Dinken, invented the same set of graphs to classify very different kind mathematical objects, something called; lie algebras and lie groups. Then in the 60's a french mathematician called Rene' Thom invented a whole new field of mathematics called Catastrophe theory, which deals with dynamic systems that can undergo drastic changes due to a very small change in the parameters that they are dependent on, thus the word catastrophe, but catastrophe is to be taken in a neutral sense, that is to say a lot of catastrophes are good. In fact what RT was trying to model was the changes that living systems go through, he wanted a mathematics to deal with living systems, especially development and growth and so on; which is very difficult to deal with mathematically. Well then a Russian mathematician named V.I Arnold looked at Rene Thom's work and said Thom just delt' with a lower, small set, 7 of them in turned out, of catastrophe structures, but actually there is an infinite series and they are classified by these same graphs, so then of course the obvious idea that Arnold had was that the must be a whole bunch of other mathematical objects that can be brought into this classification scheme and so he set that up basically as a program for his students and himself to work on over the years and a lot of other mathematicians have been involved in this. And it has the feel of an archeological dig like their digging up this vast.... see because, Here's why, its because all these mathematical objects are related to each other by way of these graphs, the graphs form a kind of bridge between different types of mathematical objects, that’s a very powerful thing to be able to do in mathematics because what's very difficult to see with one type of math object and if you have a bridge between the two and you can switch back and forth and get a much broader and much more accurate feel for what's going on. And so the idea now is that the mathematicians are wondering what the vast underlying object is that the whole set of graphs ultimately refers to and that object is this archeological structure in some sense, and its being dug up, its not a ruin its not something that’s incomplete because its mathematical, its - gotta’ be whole - so to speak. And a very interesting thing from the point of view of science is that all the math objects that have been brought into the classification scheme with these Coxeter graphs are of great use and interest in physics. In fact especially in unified field theory type physics, that’s cutting edge now, like string theory, uses all these kinds of objects usually without the physicist realizing that they're grabbing objects that are related to each other by way of these graphs, because for the most part they don't know about the history of these discoveries and that it’s kind of ongoing, sort of at the cutting edge of mathematics, a kind of unification in mathematics concurrently with a unification of the forces of physics, and these two programs are intimately interrelated, and so what i think is that this vast underlying object that underlies all these graphs, is simply reality - reality in all its forms - you know. A physicist is going to want to call it physics, because they want to bring everything into the physics program, someone else might want to call it something else, like life or something , it has the feeling of a living breathing creature, its a bit like Phil Dick's idea of VALIS: Vast Active Living Intelligence System, and yeah, ironically he claimed that the definition is in some Soviet encyclopedia of some distant year, and of course the soviet Union is long gone, but still the idea of VALIS is still valid i feel. FLY: valid VALIS! SAUL: Laughs. FLY: I’m also interested in the parable between the yang-mills field theory and the work of the mathematician Ramanujan. SAUL: Yeah, oh yeah, see that’s related to this ADE stuff too. It all is. Yang-mills fields was first a generalization of the electromagnetic field, the em field is mathematisized in a sense, by a simple group which is a circle called U1, a unitary one group, and its a communicative group, in other words the way in which you rotate a circle does not matter, 30 degrees plus 60 degrees equals 60 plus 30 degrees, so it doesn't matter, and that;s a communicative group, and in the language we use today we say thats the gauge group of electromagnetism. But what Yang and Mills did back in the 1950's, 54 i think was the year, generalized the group into a bigger group that deals with rotations ultimately rot' in a 3d space, and thats the gauge group; they were trying to model the strong force, but it turned out to be the right group for the weak force, then in the 60' there was the unification of the st and weak force by simply putting U1 and SU2 together as a bigger gauge group, work by Weinberg, Salem and Glashow, and this had certain experimental implications, like the existence of certain particles that were then found which verify the theory, but in fact there are still parts of the theory we are still trying to verify, like the Higgs particle, which hasn't been found yet, and thats part of the theory, and we think that eventually it will be found, but generally these gauge groups are groups that are classified by the ADE groups, now SU actually is an ADE classification, simply the very first rung on the ladder so to speak, in order to bring in the other forces like the strong for force they have to go to a larger gauge group, put all 3 forces together, weak the strong and the electromagnetic force, they had to go to SU5, which is a 3 dim group, that work was done in 74 i guess, by Glashow and Geogee, the same Glashow that did the work on electro-weak theory. But then in order to bring in gravity which is a lot harder to do because gravity entails Einstein's theory of general relativity which is so different from Quantum mechanics, these other forces are modelled by way of the rules of general relativity, which are very different, almost opposite from the rules of Quantum Mechanics, so it’s very hard to put these theories together; to assume sub theories, or some bigger theories. But thats been done now with superstring theory. Yeah, since 1984 superstring theory has been proven to be a viable consistent quantum gravity theory, and thats what started a sort of bandwagon effect in physics and when lots of young physicists got interested in studying strings. But the gauge groups involves in string theory are huge groups, like E8 x E8. There are 3 groups, which is interesting, an infinite A's, An Infinite D's and then only 3 E's, E6 E7 and E8, the dimensionality is huge. E6, is a 78 dimensional group, E7 is a 133 dimensional group and E8 is a 240 dimensional group, and they use 2 copies of it. They have an E8 x E8 version of superstring theory, they have 496 dimensional group actually, and the E8 x E8 gives you 16 very special dimensions which they use to interpolate between the 26 dimensional superstring theory and the 10 dimensional theory in a very clever way. And all this is an out-growth of what you mentioned - the yang-mills theory of 1954 - it’s an out-growth of other developments too, but that was a key development in 1954 and i just wanted to plug that in and see how that fits into the ADE scheme itself, you see? FLY: I see a parallel between the superstrings and the strings on an instrument SAUL: Yeah, well it is like strings on an instrument in this sense, that the harmonics, what we call vibrational states, quantized vibrational States are exactly harmonics, auk, and string harmonics are what we used to call particle states, OK, that’s how string theory corresponds to particles, and the way the correspondence works is by way of the gauge groups that are classified by these ADE graphs so the ultimate tool is simply these graphs, which go way back into the 30's to Coxeter's work, not knowing the way these things were be used in the future but he really started something there and Dinken in Russia you know, the same graphs, classifying "Lie algebras which are the algebras of the gauge groups as we use them in physics now and he had no idea that development was going to happen, he was a pure mathematician not a physicist, even physicists in the 40's should not foresee that development. And you mentioned RAM earlier, and some of the more esoteric discoveries of RAM are actually very fundamental parts of super string theory and special membrane theory, and so people thought of RAM's work as not only been rather fantastic of course, its amazing he came up with those identities, allot of his work involved saying "this is equal to that, and the two things are so deferent that, you know, you might never in a thousand years think that was true, they're still working on proving RAM's ideas, and a lot of people are working on that now in mathematics. But a lot of his ideas are being brought into physics by Super-string theory funnily enough. FLY: One of the things i found really interesting in the work of Buckminster Fuller was the isotropic vector, (Vector equilibrium you mean?) yeah... i'm looking for relationships between the superstrings and Bucky's work... SAUL: The vector equalibrium is an object that has 12 vertices, ok, and actually that object, is one of these crystallographic objects, in fact that crystallographic object exists exactly in what i call the reflection space, or you could call it a crystallographic space of the SU(4) group. OK, and in fact of course; those 12 vertices actually correspond to what we call; eigen values of the S4 group which correspond to what we call the gauge particles, or the force particles. You see; there's two types groups of particles in quantum theory these force particles and matter particles. One of the fundamental ideas in particle theory is that matter particles interact by exchanging force particles, and mathematically the way that works is that in these gauge group structures you have two different types of crystallographic structure, you have the matter c.s and the force c.s, and in the case of SU(4) the matter crystallographic structures are like tetrathedra, you have two tetrahedra making a cube and those exactly correspond to the eigen values of the quarks and anti-quarks, and the electrons and the neutrinos. OK. So those are all matter particles, but then there are actually 15 force particles involved because SU4 is a 15 dimensional group but 3 of the force particles have zero eigen values, and 12 of them have none zero eigen values and those eigen values exactly correspond to the vertices of what Bucky fuller calls the 'vector equilibrium'. So that object is being used but in a totally different way to what he thought of it. Fly Agaric: yeah. Interview with Saul Paul Sirag, in North Beach, San Francisco: 27/05/2000. Recorded and transcribed by Steven "Fly Agaric 23" Pratt. NOTES AND QUOTES:
    "In 1936 Coxeter moved to the University of Toronto, becoming a professor in 1948. He was elected a Fellow of the Royal Society of Canada in 1948 and a Fellow of the Royal Society in 1950. He met Maurits Escher and his work on geometric figures helped inspire some of Escher's works, particularly the Circle Limit series based on hyperbolic tessellations. He also inspired some of the innovations of Buckminster Fuller. --http://en.wikipedia.org/wiki/Coxeter
    A Fuller explanation: the synergetic geometry of R. Buckminster Fuller By Amy C. Edmondson
    Toward a science of consciousness: the first Tucson discussions and debates By Stuart R. Hameroff, Alfred W. Kaszniak, Alwyn Scott
    Ramanujan: essays and surveys By Bruce C. Berndt, Robert Alexander Rankin
    The Trouble with Physics: The Rise of String Theory, the Fall of a Science ... By Lee Smolin
    Strings, conformal fields, and M-theory By Michio Kaku
    http://www.ted.com/talks/murray_gell_mann_on_beauty_and_truth_in_physics.html The search for a unifying theory was interrupted by the discovery of the strong and weak nuclear forces, which could not be subsumed into either gravity or electromagnetism. A further hurdle was the acceptance that quantum mechanics had to be incorporated from the start, rather than emerging as a consequence of a deterministic unified theory, as Einstein had hoped. Gravity and electromagnetism could always peacefully coexist as entries in a list of Newtonian forces, but for many years it seemed that gravity could not even be incorporated into the quantum framework, let alone unified with the other fundamental forces. For this reason, work on unification for much of the twentieth century, focused on understanding the three "quantum" forces: electromagnetism and the weak and strong forces. The first two were unified in 1967–68 by Sheldon Glashow, Steven Weinberg, and Abdus Salam as the "electroweak" force.[7] However, while the strong and electroweak forces peacefully coexist in the Standard Model of particle physics, they remain distinct. Several Grand Unified Theories (GUTs) have been proposed to unify them. Although the simplest GUTs have been experimentally ruled out, the general idea, especially when linked with supersymmetry, remains strongly favored by the theoretical physics community
    In current mainstream physics, a Theory of Everything would unify all the fundamental interactions of nature, which are usually considered to be four in number: gravity, the strong nuclear force, the weak nuclear force, and the electromagnetic force. Because the weak force can transform elementary particles from one kind into another, the TOE should yield a deep understanding of the various different kinds of particles as well as the different forces. The expected pattern of theories is:
    Theory of Everything
    Gravity
    Electronuclear force (GUT)
    Strong force SU(3)
    Electroweak force SU(2) x U(1)
    Weak force SU(2)
    Electromagnetism U(1)
    Electric force
    Magnetic force
    In addition to the forces listed here, modern cosmology might require an inflationary force, dark energy, and also dark matter composed of fundamental particles outside the scheme of the standard model. The existence of these has not been proven and there are alternative theories such as modified Newtonian dynamics.
    http://en.wikipedia.org/wiki/Theory_of_everything
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  5. page SIXTY edited www.flyagaric23.com (Hyperlinks added September 3rd 2011, seem stranger than my fiction) Wou…
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    (Hyperlinks added September 3rd 2011, seem stranger than my fiction)
    Would Assange send out the key code?
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  6. page Open Source History edited www.flyagaric23.com
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  7. page POPE JOYCE O NOLAN AND CIRCE edited ... "It opens with a terrific incantation to the Sun by Circe, mentioning all his names, attr…
    ...
    "It opens with a terrific incantation to the Sun by Circe, mentioning all his names, attributes, animals, birds, metals, and so on. From time to time, her assistant, Moeris, has to look out to inspect the line of the sun's rays and to see if the incantation is working. There is a distinct though slightly garbled reference to Ficino's De vita coelitus comparanda in this incantation, on the sun as the vehicle of inscrutable powers reaching us from the "ideas" through "reasons" in the soul of the world, and on the power of herbs, plants, stones, and so on to attract spiritus.'* Circe then makes equally terrific, though not quite so long, incantations to Luna, Saturn, Jupiter, Mars, Venus, and Mercury, finally adjuring all the seven rulers to listen to her. She is at the same time doing magic with arrangements of plants, stones, etc., and holding out "writings of the sacred gods" on a plate, drawing characters in the air, whilst Moeris is instructed to unfold a parchment on which are most potent notae, the mystery of which is hidden from all mortals.
    The Circean incantations or Cantus is said to be ad Memoriae praxim ordinatusi and is followed by an Art of Memory. --Francis Yeats, Girodano and The Hermetic Tradition. page 119.
    LPS KEYS TOO by STEVEFLY
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  8. page REPLAY edited REPLAY360 Albums, games, movies, data collection operations, advertising, education all bleed i…

    REPLAY360
    Albums, games, movies, data collection operations, advertising, education all bleed into one another in 2014. Together with the massive influx of disinformation from all quarters, both good intentioned playful disinformation such as that put out by the onion, the daily mash and other satirical funnies, and the not so good intentioned disinformation from proposed authorities such as newspapers, major TV news networks, government public relations offices and the deep heart of strategic disinformation...the intelligence agencies. Booooooo.
    I notice that in literature and the arts there grows a different kind of disinformation, that transforms into alternative perception. Not really disinformation in the hurtful sense, due to the informer often not having any empirical authority, or wishing to submit any authority to the unknown creative well-spring, and praise the wonders of the imagination, rather than preach a singular truth about what is.
    RAW360 reflects a playful principle and so takes on the attributes of a game, or play generally. Exploration and the spirit of adventure is rewarded, what you put in you get out, zoom in and inspect the details, you may find another doorway, portal or interactive object that reveals more than what you could see at first, for example.
    During the 4 year process of working on this new way of presenting RAWs works i have created further plans for future RAW360 spaces, to join the Kitchen and the Chapel areas, already open for inspection. www.raw360.net/fly
    My work on RAW360 involves combining multi media content, audio, video, images, texts into a coherent 360 activity space. Imagine populating each room in a house with museum exhibits, illuminating fragments corresponding to objects and processes that may take place in that room. For example the washing machine in the kitchen is filled with money, and the video link from one of those notes is to RAW talking about the federal reserve bank, another to ken Campbell reading an Appendix from Illuminatus Trilogy on Free Banking.
    I have developed a rough scheme for applying the methods and principles associated with a member of RAWs tale of the tribe with a specific activity space, all contained within a single building. There is a library (Yeats & Pound & Joyce), a film room (Orson Welles & McLuhan), computer room (Shannon & Weiner), gallery (Fenollosa) stellarium (Bruno & Vico), maps room (Bucky & Korzybski), Kitchen (RAW) and a chapel (Nietzsche) Each of these rooms can contain separate activity spaces, an entire new set of media content and a range of other visual renders and styles to invoke various periods of history, or different atmospheres in the room. Also consider different critters who may be peering out from somewhere in the room, a fly eye, mouse, cat or perhaps King Kong at the window?
    In some sense i am creating movie sets, or game environments, or music videos depending on how you look at it. I hope you will join me as i explore new activity spaces and help me imagine what the experience of navigating them should be like.
    Some ideas kicking around for future development are a Bucky360 project exploiting his geometrical and visual based innovations. A Magick360 space which might guide the initiate through a series of Magickal initiations, exploiting geo' and astro' coordinating technology. Trigger360: a combination of specially filmed scenes from the cosmic trigger play rendered into the 360 universe. Lilly, Leary, Crowley, triggers? Maybe you can help us create these useful tools for better understanding and interacting with RAWs work and the world?
    The tale of the tribe and the panorawma
    Those who have looked into the tale of the tribe, and contemplated the challenges of crafting an encyclopedic history of humanity in verse, are often confronted with the daunting task of condensation and coherence. How can it be done?
    One approach is the novel, the waking language of human experience and speech, or the inner dialogue of the everyman, as best exemplified in Ulysses by James Joyce, an irresistibly realistic novel. Another approach that was of interest to RAW is that demonstrated by Ezra Pound in his Cantos, the craft of juxtaposition of illuminating details. Small triggers, intersection points, that with luck open the theater of the mind and mine the language for the most potent triggers. Joyce's method of epiphany, and what Pound referred to as Ideogrammic method, each a unique literary performance by example, strategic condensation and charging of the word-symbols with meaning to the uppermost degree.
    Leaking of, indexing and interpretation of confidential government and corporate information provides a never before picture of war, and internal corruptions throughout the richest and most powerful groups around the world. Leaks may give a unique and honest moment by moment record of events of great importance to the public and humanity at large, yet the language of poetry and condensation of principles are sorely missing from these documents, IMHO, together with the lack of any individual author rooted in spacetime. The emergence of organizations such as wikileaks deserve a place in the tale of the tribe due to the innovation in data processing and indexing into meaningful, valuable communications. Words powerful enough to strike a blow to the state?
    The principle of cultural inheritance as defined by Buckminster Fuller addresses the problem of institutionalized knowledge, and the privatization of human knowledge amassed over many centuries. May the language of poetry and moving tales and great stories liberate all knowledge and human experience from the private greed heads, NOW!
    --Steve Fly
    15/08/14
    www.flyagaric23.com
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  9. page PROPHETS CONTAIN A MAYBE edited Universe Contains A Maybe (2000 A.D RAW Lecture) INTRODUCTION (from 2005) 17th December 2000,…

    Universe Contains A Maybe (2000 A.D RAW Lecture)
    INTRODUCTION (from 2005)
    17th December 2000, Dr. Wilson gave a performance at the Marquee Hotel, Palm Springs, as a part of the Prophets Conference, now (Great Mystery, Axiom, Great rethinking) that for me was the beginning of a five year travel excursion around the USA studying his work and forwarding my own. I was Dr. Wilson's care-taker during the three days of the conference and helped him around in his wheelchair opening doors and getting him to his appointments.
    I recorded his presentation on my trusty minidisc recorder, and have only recently found the disc and transfered it to a 'digital format' so I can now share the entire show. Please accept my apologies for the sound quality and my sad state or organization that has led to this ten year gap from performance to distribution.
    Bobs performance was amplified for me by the fact that we were sitting together with Paul Krassner and his wife before the gig drinking Manhattan's and having a jolly good old belly laugh, I think that Bob was a little tipsy going up onto the stage and really let his bullets fly, getting into cock sucking, the Bush Gore election, Bell's theorem and more cock sucking to hilarious effect. I imagined Bob spiced up his act to impress Paul who was sitting at the front, I must admit that I had to hold back my laughter due to making the recording and not wanting to be chuckling throughout.
    In retrospect 'The Universe Contains a Maybe' gives an example of RAWs comeback after his first stroke that left him wheel-chair bound, and his first public speech after the now historic turning point in American history, the Florida election and recount, and recount, and recount.
    A line that stuck with me from early in his show was '...if the United States wasn't trying to dominate the whole world, we wouldn't be threatened by Terrorism' and even goes on to reference the first World Trade Center bombing. This is just nine months before 911, and when I now hear Bobs typically brilliant, erudite and fact-filled spoken prose on 'foreign policy' 'corporatism' and the 'Military industrial state's' I wish to accent his anarchist pacifism and general good will to the disenfranchised, down trodden and victims of Imperialist and in this case American greed and violence.
    Maybe this talk was a part of the reason the Prophets Conference changed their name to Great Mystery, due to the prophetic insights delivered by Dr. Wilson that frankly make many of the other presenters pale and wither in comparison. Add to Bobs 36 books and thousands of unique and ground breaking articles, his spoken freestyle genius and ability to educate and entertain a crowd like no other sit-down comedian (scientific philosopher) who ever lived, and you start to see the distance from the rest Bob was in his prophesy, although, he would probably not use that term, but here, I think it perfectly describes the content of his presentation, only months before something, like something from out of one or two of his fictional epics; became a new reality. 911, the war on terror, more stolen election activity, foreign meddling, and the banking heists, and the continued war on some drugs.
    Even with Bob gone we can revisit his wisdom and wit and laugh along with him, at least temporarily, and each time I listen to one of his presentations I feel safer, I feel that the world is a safer place and feel more optimistic about our collective futures, the emergent technology for realizing the hermetic hologram of art, and collapsing the mechanism for centralized control, corporate monopoly and general brainwashing.
    Bob wrote on taboo and censored subjects, subjects that still today still only a handful of investigative journalists would touch, perhaps wikileaks? he has been writing about some of the most challenging things to humanity in a caring and yet viral style, for a long long time, 'things' that some suspect might get you killed, harassed and just generally fucked with.
    Bob taught a resilience and intelligence and that its OK to write about anything, really, even the truth, and to always question authority, the scientific, religious and militaristic, the richest and the most-powerful, the ruthless and the criminal, question authority and think for your self, and to live your life as if this is your duty, as a writer, philosopher and scholar activist. Whoever you are, I hope you can pass it on.
    Special thanks to uncle Bob, Paul and Nancy Krassner, Bob Tesch, Abby Lewis, Robin and Cody, and a special thanks to David J. Brown.
    Universe Contains a maybe monday by rawmemorial
    INTRODUCTION PART 2.
    My first interview with Dr. Wilson was captured on mini-disc recorder in his small hotel room at the Prophets Conference, Palm Springs 2000 A.D. I am in the process of writing out the days I spent with RAW at the Con. and it leads right up to this transcript of Dr. Wilson, who was tired and stoned from a full days activity but still turning my grunts and garbles into wonderful threads within his NET.
    I hope to place my three interview-type interactions with RAW, along with some historic and geographical tales into a new book! At least i hope my naive tone can be attributed to smoking Amsterdam Cup winning weed that evening in Bob's hotel room, provided by Richard Metzger of disinfo - who paid us a fleeting visit. Any ideas on how to expand this into the tribal tales? Please forgive me for not sharing this interview earlier.
    I Can't resist setting the scene a little here: Bob, sits on a small chair next to the bed smoking cigarettes frequently, the wise old Irish giant of counter-culture, right there in front of me! I as smoking like a chminey too, I was very high after smoking weed in a pipe with disinfolk.
    Bob was wearing a cream shirt, the one with the hyperbolic pattern running down the front in large coral cream puffs and ridges, and some comfy looking brown slippers. He drank water often, and spoke very slowly to me as I bombarded the poor old man with questions about whatever subjective delusions I might have been carrying around that evening. After all, I was only 24 years young, 5000 miles from home and had approx 40 American Dollars to my name, but I was living out some kind of impossible Dream of unimaginable proportion.
    I was sat on the floor of the small room about 4 feet from Bob, the mini-disc lay on the bed, in fact laying there for the duration of Richards visit but I paid the honour of not having it set to record for that fascinating conversation.
    I was as high as I had ever been before, higher, at the end of a 9 year day, a day on which I lost my job at the conference as Bob’s little helper, due to not getting him to the hall on time for his presentation due to hanging out with Paul Krassner and his wife over Manhattan’s and a crafty joint. I found it difficult to interupt them to hit the road to the show. I had a few notes scrawled in my notebook, sweaty palms and screwy vision, here's what was said, with a few minor edits and additional hyperlinks.
    -Steve Fly. 
10/01/10
    Fly's Interview with Robert Anton Wilson 2000 A.D
    PALM SPRINGS. 17/12/00. By Steven James Pratt (Fly Agaric 23).
    RAW: So your gonna do an interview now?
    Fly: Well, a few questions.... erm, UFO's as fairies, and the UFO as a fairy tale?
    RAW: I think Jacques Vallee was the first to suggest that in Passport to Magolia, and a lot of interesting links between UFO encounters and traditional fairy lore, there are also links with appearances of the BVM (Blessed Virgin Mary) and with the delusions of Dr. WilliamMinouse: one of the major researchers upon the Oxford English dictionary and he was confined to Broadmore Asylum for the mentally insane and he believed Irishmen were sneaking into his room and carrying him by Airplane to Cairo and forcing him to do unspeakable sex acts to Arab prostitutes; thats very similar to some of the UFO contact stories. The plane is sort of like a crude UFO, I am sure to the first people who saw it, it was a UFO to them. What the hell is that thing in the sky?
    Fly: What about the pancakes? when those UFO's flew down and left some pancakes?
    RAW: Oh, the Simonton cakes, yeah, Joseph Simonton from Wisconsin, i forget the name of the city, well S claimed that a UFO landed in his back yard and they asked him for some water which he gave them and they thanked him and gave him a plate full of pancakes, and he had the pancakes, so the only hallucinatory explanation is that he went into a trance, made the pancakes, forgot that he did it, hallucinated the UFO's and had a explanation for the pancakes. I find that a bit strange, but i find it even more strange that people would come across God knows how many light years of space to give pancakes to a guy in Wisconsin, it doesn't make sense no matter which way you look at it, and Allen Hynek was on the Airforce investigation team with Jacques Vallee and they both came to the conclusion that Simonton thought he was telling the truth, he had all the earmarks of sincerity, he was confused like anybody else, all you can say is thats what i think, thats what happened thats what i saw.
    Fly: Were they edible?
    Raw: Oh yeah, well, they took them back to Wright Paterson Airforce Base and analyzed them there and said they were created by somebody who was very health conscious, they contain wheat germ. (laughs)
    Fly: If there was a Mushroom contained within the Fairy Tale, like recent query into Irish Soma by Hakim Bey, how would you see that archetype in other mysteries?
    RAW: Well, the fairies are frequently seen on the mushrooms in traditional art and the mushroom they are most frequently seen under is the Psilocybin mushroom, and the word for psilocybin in Gaelic is Pookeen', which means little Fairy, little Elf or vegetation spirit; something like that, so there was definitely a link back in ancient times between the psilocybin mushroom and the experiences of fairy people or the gentry as the Irish call them - and of course Terence Mckenna and Gordon Wasson , John Allegro and several others have found evidence of a magic mushroom cult over most of Europe and even up into Russia and Siberia I believe, yeah, the siberians are into Amanita Muscaria.
    Fly: Yeah, I read some Puharich stuff recently.
    RAW: Yeah, he was one of the first to write about the importance of Amanita in religious history.
    Fly: It seemed like a strange filter that came through, as you said about Uri's book earlier, it’s like a crazy fairground ride.
    RAW: Which one, the book by Puharich or the one by Uri? I read the one by Puharich and i have not got around to reading the one by Uri. Yeah, Puharich's book is harder to believe than just about anything i have ever read on that subject, and though Puharich himself is a competent scientist and has patents on several inventions, but then again William Minor who i mentioned earlier who thought the Irish were forcing him to commit unspeakable sex acts; whatever that meant to the Victorians. He was a leading scholar of his time (RAW Laughs) I don't know, i don't mean to imply that Puharich is crazy, i just mean to imply that the human brain cant understand itself. The brain has so many potentials, i mean, is it genetics that gave Beethoven that magnificent musical talent or was it conditioning because his father was a music teacher? he hated his father who was a very brutal father you know, where did Orson Welles get that voice? weather you think that Orson Welles was the greatest actor of the 20th century or the greatest ham, weather you like it or don't like his style of acting, everybody has to admit he has the most musical voice within acting and can do remarkable things with it, is that work and work and training and training or did he just genetically inherit a voice like that. I don't know.
    Fly: Today is Beethoven's Birthday.
    RAW: Yeah, i lost track of that on my travels. On my email i usually put down who's birthday it is if i happen to know, but I'm not near my computer at present, thank God! (Raw Chuckles) the only thing that gets me away from the computer is hunger or the growing sense I'm about to get eye strain if i don't quit for a while.
    Fly: Yeah, I am interested in Bates work that Aldous Huxley picked up on and wrote about in "The Art of seeing" the idea that glasses don't really heal seeing, for your eyes to get better, you have to take off your glasses and exorcise your eyes.
    RAW: I've heard of Bates but i've never tried his system. My wife tried it and it seemed to keep her from wearing glasses for quite a long time but eventually she did need glasses, in her 50's. But she was first told she needed glasses in her 20's and she started doing the Bates exercises and she never bumped into anything and she drove a car well, and she read all the time, i don't know why i haven't gotten around to them? Oh, i know why because there's so many fucking things I am interested in i can't get into all of them so i have to put some on the back burner till i get the time. (pause) The trouble with been a generalist is that your always 5 to 20 years behind any subject you ever wrote a book about. Somebody asked me to write a paper on Bell's theorem, i went searching on the WEB to make sure there was nothing new on Bell's theorem that refuted everything i had written about it before and all i found is there's a new group of antiBell people who are still claiming there are defects in the experiments even though the experiments have got increasingly complex and subtle and so on. I think there's been six confirmations of Bell's theorem but they're still arguing, seems they just can't believe it.
    Fly: Saul Paul talks about the ADE Graphs, the seven times seven group and the work of Eddington studied in the 1970's, like some emerging shape, and he uses the metaphor of the Kublai Khan story about an unbuilt pyramid, recalled by Cooleridge, and, it was like a dream that only came - half - to him, he was awoke up from his dream about something being built in the desert, he parables this half remembered dream to the emerging shapes of ADE groups that are coming through. Its nice to see colors and patterns emerging from science, spirals...
    RAW: Yeah.
    Fly: I've experienced something i call Coltrane Coincidence Control Conspiracy. Coltrane was kinda' opening portals to other worlds with his horn, described later tracks titles. I think he really did open channels and doors up at that time. There was a big surge from 1965 and his last 2 years on earth. Its interesting to me how you find music like this and then loose weeks and months, listening and getting mixed up in it.
    RAW: Somebody said that "when the music changes the walls of the city shake". Every major change in music has paralleled cultural change.
    Are you sure you turned down the thermostat, you didn't turn it up?
    Fly: I think i put it on low, i'll check again.
    Fly: In your book Cosmic Trigger, you wrote about possible drugs that were going to emerge in the year 2000. At least half of these things have come true, like Viagra for example...?
    RAW: I don't know how many of them have become true, but a few of them have, and others look much more plausible now than they did when i wrote that, research is moving along all those lines, there's a lot of drugs around that supposed to increase intelligence but i haven't seen any serious scientific tests on them, but a lot of people are interested in that, if we don't have them already, we'll have them soon and i forget what else i predicted but well there are two corporations that are building Hotels in space, one in Japan and one in England, and by and large i think i was off by a few years, but i did spot the on coming trends.
    Fly: Genesis P. Orridge and his works are something i have not had much contact with, but it seems to have a relation to a kind of TV consciousness, maybe one of the first folks making TV out to be a mega strong force, and should be kind of, avoided, you know, then if you find a tree then sit under that.
    RAW: I don't avoid any new art form no matter how crude it looks originally its worth studying to find out, Im very much a TV fan, especially since the invention of the VCR, i can look at any movie i want just about, without any commercial interruptions. What a marvelous idea.
    Fly: Yeah, Graffiti art, there's a movement in England called the Iconoclast Panzerism, started maybe around 1984, graffiti writers painting with letters and shapes and they started this movement and its now diversified into music too, like the Hip Hop label Big Dada records.
    RAW: Yeah, DADA is making a come back in all sorts of forms, there were times i thought the latest American election must have been a DADA plot.
    Fly: Have you favorite food that you enjoy? or that you like to cook.
    RAW: If i had to pick one it would be Lobster. With shrimp and Crab tied in second place, Oysters in third. I seem to have a thing about shell fish, i don't know why.
    Fly: Yeah, Terence put forward some ideas about the Octopus, it can communicate through changing its texture and its color, which might be another kind of evolutionary move?
    RAW: Octopi are one of the many subjects i don't know much about.
    Fly: Do you mind if i smoke a cigarette?
    RAW: No, as a matter of fact i think I'll do the same.
    FLY: I visited San Francisco for 2 months. And i was thinking generally about how India and Asia and Africa seem to meet there through internet.
    RAW: Oh, yeah, i subscribe to a list serve called mobilize globally which keeps you informed about every-kind of protest going on allover the world. I think thats the best thing i found on internet so far. Its nice to know your not alone. (Laughs....) That why i was so happy that nobody got 52% of the vote, gee, i'm part of the majority for the first time in my life.
    FLY: Yeah imagine, i was in Palm Springs for one day, i put the Television on, and it was the night that they made the election news broadcast, i sat there, my first day in America, watching the Ivory Tower. (Raw laughs) That was one of the images that i remember.
    RAW: Yeah after the first half hour they were so confused that i got the impression that there was a possibility that they allowed the Florida supreme court to set up another count but it turns out the conditions under which they set it up, the Florida supreme court couldn't do it. Bwoy, what a bunch of sneaky bastards. (Laughs)
    The funny thing is, there was a time when the supreme court was my favorite branch of the Government, thats when they still had Justice Black and Justice Brenan, and Justice Douglas and a few others like that.
    Fly: Yeah, i think recently, Blueprints have recently been released for building Tesla's Earthquake machine, in paperback.
    RAW: How big an earthquake does it make?
    Fly: I dunno, i dunno if it works (RAW Laughs)
    RAW: I am wondering how big the anti Inuguration protest is going to be in Washington, and with an Earthquake machine i thought gee, if they get their hands on that! (RAW LAUGHS)
    Fly: I read “Prodigal Genius” and it interested me that the moment he first saw the machines in his Mind, he was reading Goethe, i think he was in some square?
    RAW: Yeah, an unusual brain, he could not only see a machine before it was built but he could know the exact dimensions it had to be. The only thing comparable to that is those Chess masters who play 40 games blindfolded and win 43 of them. (Laughs)
    Fly: I see a link between the 11th of the Sephiroth from the tree of life and the 11 dimensions of Super String theory, um, maybe thats a new model for vibrational information?
    RAW: But there are 10 sephiroth. Oh, your including Da'at, and that's not a real sephiroth, that's a false sephiroth.
    Fly: is that like the Pookah?
    Raw: Yeah, i guess so yeah, but stay away from that one. (huh em)
    Fly: My best expression for this is through playing drums and music. I recently did a recording project called “Super-string theory”, and we hope to use the strings of the violins and the other instruments with to try and teach the idea of science through music. A direct link...
    RAW: I am tired, yeah, I'm tired.
    RECORDING TERMINATED.
    --Steven James Pratt (fly agaric 23)
    Recorded on SONY mini-disc. approx 8-10.00 P.M. 17th December 2000. Palm Springs.
    Prophets Conference.
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  10. page ASTRAL PROJECTED VERSE 1968 edited Astral Projective Verse: assignment 1 Introduction The following is a rough start to an exampl…

    Astral Projective Verse: assignment 1
    Introduction
    The following is a rough start to an example of what i am calling Astral Projective Verse, tongue in cheek, named to have fun. It starts with a shored dream fragment, and then leads into a kind of proposed group 'historical intersection point' where we could pitch our astral 'mental' tents? i did for a moment and here are the results...
    best wishes,
    --steve fly
    Dream Fragment: Morning of Saturday 18th January 2014:
    The projective dream author found himself kneeling down next to a body of water, either a lake or the ocean. However, the water was still more like a lake. Just below the surface were some rocks with bright green moss shimmering in the brown/azure water, trance like. I reach with my arm into the lake to find a bunch of keys, instinctively i feel these are my keys. I reach down again to find more objects, but these are beyond description. I felt a sense of awe and wonder at my discovery, general accomplishment.
    In retrospect tonight, Sunday 19th January, i have somewhat forced the lake to be the lake in Lincoln park, Chicago. On closer inspection, perhaps it was: Alfred Caldwell Lily Pool:
    https://en.wikipedia.org/wiki/Alfred_Caldwell_Lily_Pool
    Or perhaps its the fountain of the great lakes in Grant Park:
    https://en.wikipedia.org/wiki/Fountain_of_the_Great_Lakes
    1968 Intersection Point: Astral Projective Verse assignment 1
    Following my own system of research, developed during my on-line class 'Email To The Tribe,' i picked 13 characters who were present on world during the 1968 Chicago convention, and who fit with the more general 'revolution in language' often associated with 'the tale of the tribe'.
    Here, in 1968 we find an intersection point, or a synchrony-mesh, a furtive place-time to observe using the telescope/microscope of flexible insight and special techniques for conjuring the ambiance of the time-place under investigation. Focused imagination.
    We have a phase array of versions of the events from some of the great minds of the 20th century, we have specific times and places and sensory poetic reflections on the happenings. I cannot suppose that all these characters were in earshot but to know they were present, in some capacity, opens the door to invoke them and their verse into our tale, to mix them into the giant cauldron bubbling away in Lincoln park.
    Many reports of the events taking place in Lincoln park on Saturday 24th August, at 4.00 PM give a good picture of a specific event, the brief performance of the MC5. The band got its power from a generator belonging to a hotdog vendor.
    Here, in the park, with the backdrop of 5000 hippies freaking out to the sonic innovations of the MC5 we project our characters, all gathered together in a fictional universe, not too far away from the one recorded by historians, and agreed upon by most people. An intersection point, a specific target for an astral projective verse experiment. (please see my previous post on APV).
    To open up my shared imagination a little, lets imagine a mixed aroma of marijuana, onions, gasoline, on the wind. The crackle and fuzz of electrified guitars and microphone feedback, the dry thump and padded bop of distant drums, cymbals building up a series of factory like pings and pangs, the sound of wooden stix on metal. The hum of the generator, running at full capacity to power the music. The rambunctious yippies and cheers of 5000 hippies dancing and celebrating life. The distant sound of sirens and police whistles, the sound of horse hooves and more police whistles.
    Here, Robert Anton Wilson, William S. Burroughs and John Sinclair and passing a joint of Acapulco gold, rolled like a torpedo by Ed Sanders. Ginsberg misses a round due to having a sunflower protruding from his mouth. Norman Mailer is shadow boxing with Abbie Hoffman, while Carl Oglesby and Terry Southern look on, wondering if Norman was going to really connect with Abbie. Wayne Kramer hits a 'space note' shortly followed by the rest of the band, all playing free-form in the tradition of Sun Ra and his Arkestra.
    RAW is discussing Carl Jung and Wolfgang Pauli with Burroughs, who in response recalls a short tale of James Joyce and his fascination with Synchronicity and the fact that he inserted many of his own moment of synchronicity, or in his own terms you might say Epiphany. Raw respond with the story of Carl Jung and his dream of Liverpool, and it's lasting impact on his work afterwards, commenting how the fountain that he saw earlier at Grant Park, reminded him of Jung's dream. Burroughs then told RAW about his synchronicity surrounding the number 23, and retold his Captain Clark story.
    Ed Sanders and Ginsberg launch into the actual poem called 'The tale of the tribe'. Ginsberg, who recently came back from visiting Ezra Pound in Italy, was channeling Ez, while Ed Sanders was channeling Charles Olson. Together they spontaneously presented the history of civilization, the birth and gestation of languages, arts, music, poetry, writing, conflict, war, oppression, civil disobedience up to 24th August 1968 in a terse, information rich prose, epic, and including history.
    Slowly the group begin to pass the hay, with the music still playing in the background and the Chicago police and their whistles and bullhorns getting nearer, the gang begin to jam together, projecting their observations and innovations into the mix. You get the picture?
    So this is my own imagination at work, bedding the truth in waking life, having a stab at a point in space-time, buried somewhat in the noise, but polished and presented here as a nodal cluster of innovative possibilities for further research, to mean have them activated by using some special method or other. Some of these methods will involves weeks and possibly months of consistent meditation.
    My methods relating to my class email to the tribe: ETTT, for example, include creating a tally of attributes for each character: Texts, Teachings, Theos, Totems, Tailors. Next, i suggest creating an alphabet of magical objects associated with each character present in 1968. When a number of characters and their attributes have been created they can be fixed together in various geometrical patterns, based here upon some of the geometries of R. Buckminster Fuller. This was the model I followed for my novel Sixty (2011) and the Icosahedron and Dodecahedron in particular. The Pentagon/Pentagram and the Hexagon/Hexagram were also used. With some playful creativity one can create multiple sided objects that can function as a kind of dice, to be thrown. Hence, mixing ideas in a literal sense from the characters under investigation. This method should be used loosely in tandem with the improvisational and spontaneous imagination.
    These obscure practices, when used in conjunction with some of those described by Orphiel in 'The Art of Astral Projection' and Charles Olson, in his essay: Projective verse, and when these are specifically designed to accommodate a certain intersection point in space-time, provide new tools and methods i recommend highly.
    Projective after-thoughts
    The Festival of life exhibits a turning of negative violence and state sponsored ignorance into a celebration of non-violent civil disobedience and the joining together, literally hand in hand, of great poets, musicians, writers, and thousands of illuminated seers of the future. Many bright sparks who quickly recognized the American hegemony of global trade, surveillance and banking chicanery or usury.
    In 1968 the public display of police brutality reverberated around the world, and helped shape the trajectory of the growing counter-culture, alternative thinkers the new artist-activist-scholar-bards of 60’s America who went on to reshape the landscape of modern poetry, music and the art of peaceful powerful protest worldwide, IMHO.
    Yes, so bringing it all into a certain radius, hundreds of future prophets of the information age, together in the same geographical location. A special intersection point, and good target for an experiment in astral projective verse. (which is a process under development, and experimentation as I write this)
    --Steve 'fly' Agaric 23
    January 19th, 2014.
    edited March 3rd, 2014.
    Astral Projective Verse (first outline)
    By Steve Fly 12th January, 2014.
    For Eric Wagner and John Sinclair. Thanks for inspiring these wild speculations which are really notes that shall be reshuffled into a more coherent whole at some future point.
    "The essay introduces his ideas of “composition by field” through projective or open verse, which is a continuation of the ideas of poets Ezra Pound, who asked poets to “compose in the sequence of the musical phrase, not in sequence of a metronome,” and William Carlos Williams, who proposed in 1948 that a poem be approached as a “field of action.” Olson’s projective verse focuses on “certain laws and possibilities of the breath, of the breathing of the man who writes as well as of his listenings”--Poetry Foundation, introduction to Projective Verse.
    "This book, an occult book, deals with the subject of how to enter this Astral plane, function there, and then return to the physical plane, with a great deal of memory-knowledge of the “trip” retained in the memory and available for study and research. This book is a practical Occult book in that it gives all the theory necessary to understand the subject AND THE DEFINITE DIRECTION PRACTICES AS HOW TO DO IT.--Orphiel, The Art of AstraProjection.
    "Music is a plane of wisdom, because music is a universal language, it is a language of honor, it is a noble precept, a gift of the Airy Kingdom, music is air, a universal existence … common to all the living. Music is existence, the key to the universal language. Because it is the universal language.--Sun Ra, The Neglected Plane of Wisdom (1966)
    Astral Planes And New Moon Beams by Sun Ra (at discogs)
    Astral Source History
    The system of projective verse as defined by Charles Olson and the magical occult Art of Astral Projection, here as defined by Orphiel, twist themselves together to produce astral projected verse, a new kind of magical poetics, or roughly a poetic technique to remote-view (using the astral body) the spaces and places and the time period under investigation.
    I have dabbled with some of these ideas in a previous writing project called Open Source History. I created a target area based upon 48 hours of historical time set between July 31st and August 1st 1936. I picked this date due to the special intersection point that I perceived here based upon the life-span of characters from 'the tale of the tribe,' as defined by Robert Anton Wilson, who was 4 in 1936. William Butler Yeats and James Joyce were alive, so were Marshall McLuhan, Buckminster Fuller, Claude Shannon, Norbert Weiner, Ezra Pound, Orson Welles and Alfred Korzybski. This group of innovative critters who exerted a special IMPACT on Dr Wilson are pulled into a fictional vortex of history spread over 48 hours.
    The ideas and innovations from the individuals are projected into the historical period under observation by using another fictional tool: tribetablism. An occult system of astral projection based up utilizing the instruments and sensibility of a disc jockey, the discs in this case contain the speech of the tribe or the speech of the historical characters, together with sounds effects and embellishments more conventionally associated with the art and craft of the DJ. The tribetable method takes a lot from the Enochian Vision Magick as defined by Lon Milo Duquette, and is the tool by which the historical tale is telling itself. The novel cuts between occult astral projecting DJs in 2012, and the targets from 1936: New York, Rapallo, Berlin.
    Pound, Olson, Baraka
    At the time of writing this novel in 2008 I had not yet come across the essay by Charles Olson, Projective verse. Since discovering this essay and reading it over due to encouragement by my friend John Sinclair, I became convinced that it embodies much of what RAW was getting at, in particular the influence of Ezra Pound and to a lesser extent James Joyce.
    Furthermore, I have recently been moved by the passing of poet Amiri Baraka and tuned back to one of his recent lectures, drawing insightful parallels between the work of Charles Olson and of Sun Ra. Listening back to the lecture, i was stunned by his description of Projective Verse by Olson and how much it resonated with 'process oriented' ideas explored by RAW. 'I see no nouns, I only see verbs.' Bucky said.
    I was moved to reshape some ideas of Ernest Fenollosa, Pound and Yeats around what Baraka was saying about Olson and Sun Ra. Projective verse seems to be a very important document and resource for research into the tale of the tribe, and thankfully, unlike many of the other gigantic texts, Projective verse is relatively short, super concise and generally optimistic and informative. It lays down another way in/out of the vortex, a way to navigate the maelstrom of thought and language and action in the world we dream in. The lineage of Projective verse and trajectory into history from that point of publication in 1950 demonstrates how strong and time-tested the contents are.
    I mean to say that Projective Verse is still NEWS today in 2014, its power and dormant potentials expanding at an exponential rate, and i wish to add a little something to that by presenting the concept of astral projected verse. I should add that within the context of the myth, magic and music of Sun Ra, astral projected verse resonates with him more than any other musician either living or dead.
    We have the costume of the historical figure Maximus, put on by Olson and projected into his local space-time manifold, and we have the literal costumes of Sun Ra and his band, put on by Ra and projected into the performance space. Both these systems of using costume could be compared with Yeats and his descriptions and investigations of masks. 'The nature of reality is the reality of masks'. And let’s not forget the brilliant Novel by RAW called 'Masks of the Illuminati' that further explores costume, theatre, drama and layers of identity, with special focus on James Joyce, Albert Einstein and Aleister Crowley.
    Astral Planes Language: APL
    Astral Projection is a psychological magickal technique and has many different variations and no single inventor or definitive text. Unlike projective verse, Astral Projection as far as i am aware is not such a popular field of interest to poets, probably due to its renaming and adoption by many fringe groups as remote viewing, many fringe groups that included intelligence agencies around the world, such as those from Russia, America and England. There are lots of publications based around remote viewing and secret government projects and so called psychic spies, there is also a Hollywood blockbuster movie about some of these events in the USA, called 'Men who stare at goats'. All the drama of psychic spies, clandestine magickal operations and the possible global hidden hand of spooks with special powers can divert the focus from the art and craft of Astral Projection itself.
    As with all and any technology, both physical and psychological it can be used to forward the shared resources and knowledge base of all-around-the-world humanity, or used to constrict, consume and paralyse humanity. Astral Projection provides a tool that can be used for an infinite variety of uses.
    You may have noticed that i am talking about Astral Projection as if i know for sure that it works, which may bring much contention from armies of skeptics, critics and the ignorant who, as with the argument against full legalization and availability of drugs, would never try, and have never tried, the things they are so certain are so dangerous and threatening to life.
    Anybody who has an active imagination and a healthy inquisitive mind can bypass this kind of bigoted ignorance, and recognize it in most authority figures and systems of control. Some may see how the language used to project the authority of knowing, itself, is a mechanism used to distort the picture, frame the information and prevent those trapped in linguistic cells from realizing the infinite flux of being, out there, beyond language...ish
    I am biased though, i must confess, after seeking and devouring the works of Robert Anton Wilson i have practiced the arts and crafts of positive thinking and critical analysis, resulting in a high sensitivity to my own projections, a kind of general awareness that 'I' like every other 'I' cannot know everything, for example. I mean to say, i feel humble to the fact that everything you and 'I' know is wrong, yet i do not feel nihilist and serious enough about this to throw the baby out with the bath water.
    To use the imagination, in tandem with the scientific reasoning faculty of the mind-body-language interface to get out there beyond language. Into telepathy, faster than light, everywhere and nowhere at once, the paradox of time-travel etc etc. Into the paradox, and out through the side door, taking bits and pieces of whatever the individual might think can help them on their journey, on the road of life to discover for themselves what the hell is going on.
    I think Astral Projection, in particular, is the kind of future technology that can really level the playing field regarding the age long questions about the individual and the state. The walls between the world in here and the perceived world out there are pulled down, if and when an individual can ignite the infinite potentials of the human mind-body interface and no longer be limited by the physical location of the body, able to travel anywhere, anytime, see and possibly act upon other psychic entities. The internet is a good metaphor that shapes one aspect of astral projection, or travelling the space ways in search of information, yet maybe with a hidden longing for a sense of experience, for an extra-sense of being there.
    Can you distinguish the boundary between your astral plane and your physical plane, where one starts and the other ends? A good place to start thinking about astral projected verse is to look at your own belief-system, how it is constructed, and why. This leads me back to the beginning of this essay. The mixture of ideas and methods from Projective Verse by Charles Olson with techniques and approaches to Astral Projection by Orphiel, topped off with the Astral jazz music of Sun Ra. Together, i believe that these three disciplines can produce some innovative, state of the art, poetic technology capable of handing individuals the free tools for self liberation, and for gaining agency in the world around them.
    “the HEAD, by way of the EAR, to the SYLLABLE
    the HEART, by way of the BREATH, to the LINE”--Charles Olson, Projective Verse.
    --Steve Fly
    Amsterdam
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