Schizoposting # 4: The Ultimo Schizopost.UNABRIDGED

[Parodites]

I think you guise can handle it, so I am throwing my unabridged text, upon which "Schizoposting 3" was based, on the forum. About 10 times as dense and twice as long, so all I can say is: reader, beware.

While explaining himself to a non-comprehending audience, Schlegel wrote, in I believe something from the Athenaeum journal, concerning his "Essay on Incomprehensibility": It is a very good sign when the harmonious bores are at a loss about how they should react to this continuous self-parody, when they fluctuate endlessly between belief and disbelief until they get dizzy and take what is meant as a parody seriously, and what is meant seriously as a parody.

And I can see into the mind of those who would pull back and grow weary, claiming that what Schlegel is doing here is just the 18th-century equivalent of shitposting. And I would simply correct you: it isn't shitposting, it's schizoposting. Meaning the point is not merely to mess with the reader and to throw them off guard so one can gauge their reaction, their psychic defenses, their emotional weaknesses, etc. (as per a shitpost) Instead, the point is to force the reader to cling to meaning more than ever- by taking that meaning away. Ironic. The point is to entangle the reader in so many layers of irony that they cannot any longer dis-entangle themselves, therefor being swept up into the clinament or cross-current of the text and forced to produce their own irony- against their will; that is, their own meaning. Doubly ironic. So not ironic.

At any rate, I like writing. I like writing about writing. I like how writing looks on the page. So I don't drop my pre-formatted LaTeX citations at the end of the essay in alphabetical order like a faggot pursuing his little dissertation on whatever trivial grunt-work absolute-bottom-of-the-barrel topic, like comparing how many genital references the Roman poets Lesbia and Catullus made in comparison to one another and how that relates to the patriarchy, or 150 pages on the disparate uses of a single word in 13th century what-ever-the-fuck manuscripts. I want certain authors and works to be connected spatially, within the actual printed text, forming what has been called a "dialogue-network." Those spatial relationships get destroyed when you extract references out of the main text and just alphabetize the shit, to be inserted post scripta. To that end, and also because I like breaking things down into hierarchies, I developed my own personal notation system, mostly based on medieval texts. Brackets [ ] indicate parallel text. Sometimes a sentence, sometimes nearly an entire essay in length, inserted right into a main text, with the intention that it be read side-by-side, much like medieval marginalia. Parallel text does not simply add to the main text; no, the main text and parallel text add to one another, that's the whole point of parallel text, it's not unidirectional. Citations are also included within brackets, where a foreign language quotation (as long as it's a Romance tongue like Latin, Italian, Portuguese, Spanish, etc.) is written in Italics, (Semitic languages, mainly Hebrew, as well as Greek are not Italicized when given in a full quote, though often they are bolded, usually when a specific Greek phrase is used like daimonion or pneuma-spermatikos, etc.) with the name, author, and work always written immediately before or after the quote, without Italics. These marginalia or parallel-texts sometimes have annotations of their own, which are marked usually in small subscript Greek Letters and placed at the bottom of the passage of which they are an inclusion. A parenthesis is just that: a parenthesis, or parenthetical remark to something. Annotations within the main text are marked by asterisks usually, and placed at the bottom of their respective passage as well. However, there are several forms of notation. An asterisk indicates an inessential addendum, like a clarification or further reference or ancillary insight, while a number indicates an essential addendum, usually a full quote too large to include in the main text, or explanatory notes, translations, etc. Nested annotations, that is, annotations to annotations within the main text, are marked by obelisks, (one, two, three. etc obelisks indicates the nested level, so that there might be annotations to annotations to annotations to annotations. I think five nested levels is the most extreme case of that in my books.) while ossia (alternative passages; a notation borrowed from music engraving) are marked by <> signs.

So there's: [ ], ( ), *, 1, α, †/‡, and < >.

All that being said, let's get started. There's some bullshit character limit for a post on here, so I am gonna have to break this into parts.


So, PART I.
---------------------------------------------

What Plato means by "the Good" or the "Form of the Good", or the form of anything else- the
eideia, was completely lost after Athenian culture fell, under whose ruins the Athenian mind
most of all was buried, and out of whose detritus a ghost was thereafter raised and drearily
exorcised, or by following generations only further abased,- be it on the account of either the
certamen Platonicum [All poets must at some time or another struggle with Plato. Augustinus
Bemus Olumucensis, in: Dialogus in Defensionem Poetices.] or the certamen Homericum (in
ingenium extra invidiae) of the poets. [Homeri ejus ingenium extra invidiae metas positum est.
Basilius Fabri Soranius, Thesaurus Eruditionis Scholasticae; P. 1091. Homer sets a limit upon
the envy of the poets.] After that point, a very stunted interpretation of what "the Good in itself",
"Form", etc., actually meant- as seen through the 'darkened glass' of Medieval Christianity and
modified, more hopelessly, by the Catholic and scholastic philosophers who re-collected the lost
Greek works and 'translated' them for preservation,- seated itself at the base of a new Western
philosophical tradition, inherited by modernity and upon whose false basis most extant
philosophers still work and find their point of departure. The history of philosophy is not a
footnote on Plato: it is a footnote on a misinterpretation of Plato. The Greeks, whose intellectual
culture was culminated in the Athenian mind, attained a certain height of cognitive development,
and thus also, the distinction of a highly developed ethos or national identity, for such an ethic *
remains the product of a developed culture and literary community, for which a language ** is
better attuned to the needs of those united by it,- both a brilliant dialectical fulguration and the
technical idiom without which a notion like the "Forms" should prove incomprehensible,- as
such notions certainly did in lieu of the misguided attempts at translation and preservation made
by the Christian scholastics,- despite whatever good will they might have extended toward the
memory of the ancients,- those eremites who, writing from their stuffy cloisters, could
admittedly not do otherwise, than distort the soul-tableau of an Epicurean garden, or less esteem
those more pleasant conditions under which the Athenian mind worked best and found its natural
affinities 'in amor sapientiae audit toto rerum naturalium.' [For the love of wisdom were not a
passive instinct, but an active one: 'Philosophia et amor sapientiae audit, est cognitio certa et
rerum naturalium.' Antonius Valcarcelius Murciensis: Probatum Methodum Exactae ex
Philosophia Theses. As stated in the first thesis of philosophic method, taken from the lectures of
Sperlette, to the effect that the 'love of wisdom' demands for her pursuit a heroic subjugation of
Nature, within oneself, and without.] Under the pluralist revision of the episteme, the "Forms"
are involved in the circular reinscriptive processes of a Bruno or Lull, (a circulation Plato
conceived of as cycles of reincarnation tied to the movement of a soul up or down the Hierarchy
of Being, from lowest to highest cognition) by which transient sensory impressions are organized
into bound structures within the 'vortices' of the intellective circulus, whose existence requires an
Un-Grund or unsynthesized dialectical negativity (what Plato calls an aporia) around whose null
core the circulus might revolve.
* We must read the development of such an ethos in quite a different way than that implicitly affirmed in the conceptualization of identity
advanced by the materialist (Marxist) camp, ie. 'identity politics', as likewise by the 'conservative' or Evolan camp. As indicated by Plessner, in:
"The Limits of Community: A Critique of Social Radicalism.", "The idol of this age is community." This portentous reading of the communal
values of the Gemeinschat, be they expressed in a Marxist fashion, that is, by an abstracted 'fraternity of man', or more particularly, in the
authoritarian racial brotherhoods grounding a national identity or neo-Evolan 'tradition', were doomed equally, to recapitulate the destructive
illnesses they denounced. As Gervase Rosser stresses, in: "The Art of Solidarity in the Middle Ages", the opium of collectivist ideology, or any
otherwise passively conditioned modus of self-identity, poses a threat 'not merely to the external political and economic rights of the individual',
but to "a vital yet fragile part of the human psyche", meaning that,- as opposed to the vacuous pseudo-philosophy of 'individualism' characterizing
the brunt of Liberal-secular humanist arguments,- the individual is not merely "unique" but, far more importantly, exists in a delicate and
perennial balance between an extroverted public persona on the one hand and a private character on the other, between 'principles' and 'traits',
whose equilibrium, [A balancing act we find articulated quite well, in juxtaposition to the Kantian formula, by Gene Outka, in: "Agape, an
Ethical Analysis; Agape as a Virtue of the Agent", P. 139. "Principles without traits (individualisms) are impotent, traits without principles are
blind."] depends on resources available to us only within civil life, ie. the 'ethos'.

** C. Anderson, "Hand over First: The Failure of Stoic Rhetoric". Note the style of the ancient Stoics as a refutation of Grecian aesthetics and a
kind of 'anti-style' which, (The Stoa posits rhetoric and, by extension, style, as a philosophical modality, whereas the other schools demeaned
rhetoric,- the study of linguistic virtu,- as merely ancillary to the pursuit of Wisdom, ie. a persuasive techne. By so positing an affirmative
philosophical content to style, the stoics advanced a kind of 'anti-style' in the form of a certain σημαινοντα, [Note: 'symainonta' is a term
connected both to the siemata and synthemata.] or language as a 'signifying mode', (developed out of a Chrysippean psychology hardly
contemporaneous with the more familiar tripartite-soul of Posidonius) as opposed to any particular linguistic signification given by the λεξτυς
[lectus] out of whose un-living tablet lesser minds merely read their compendia of virtue and vice, such that the 'arete of the logos', where the
'emissions of the mind' signify the dependent logoi embodied by the 'utterance', may either fail the demands of the symainonta or succeed. While
contemporaries of the Stoics treated style and rhetoric as merely a means to, in Plato's phrase, manufacture consent,- namely to some philosophy
or another, or to some political aim,- for which praxis the rhetorician must adopt stylistic devices intended to manipulate the pathos and rational
faculty of the audience to whose standard he must, however reservedly, submit himself, the Stoics recognized only a single standard,- that of
Truth, in whose image they must comport even against the public taste.) by contradistinction and agonistic challenge, led to the later perfection of
Greek ethic and the cultivation of the Athenian mind, which is to say, Athenian literacy.

This Platonic aporia, the aporetic scissure of discourse, is essentially what, in more abstract and
modern language, I call here the 'un-absorbed metaphysical absence', the 'asyntheme', the
'un-synthesized Negative/Negativity'. Lacanian psychoanalysis stresses the empty core of a
barred-subjectivity, a negativity around which the body is organo-affectively fragmentated and
broken down into schizophreniac bursts of stimuli without contextualizing receptive organs;
broken into pieces cast into circular orbits around an ontological black hole, whose
object-ification remains ungraspable. (Thus the typical effort of psycho-analysis to strip the
patient bare, to disintegrate the surface-ego and reveal these empty cores in a person's
defensive-structure and various patterns of desire and his general fantasy-life, that is, his
metonyms. This filial presumption underlies one of the few happy agreements between Freud
and Jung, from which our 'depth psychology' springs.) This endless circling around the
postponed desire, around the un-absorbed Negative, is the source of what Lacan calls a
metonymy. However, in my pluralist metaphysics, the Negative acts also as a 'chiasmatic
reversal of predication' capable of converting the idiomatic into the idiographic and the
nomothetic into the tychogenetic, and vice versa,- the Negative acts, in other words, as the
essential 'chiasm' indicated by Kunze, through which the fragmented Lacanian 'body without
organs' can be re-organ-ized, (pun intended) that is, reconfigured as precisely the 'shifting
meaning' of the clinamental divergence, (thereby forming a preparatory 'corpus' reft from the
'new body', the 'great body', at last transfigured by what Novalis calls sophianic death) for this
meaning can address itself- that is, it can reverse its own predication. The self-reversing property
of such a Text indicates an intrinsic operational semiotic (as opposed to the extrinsic modality of
common speech, that is, speech at the level of irreversible predicative-logic) whereby an
immanently productive machinic code functions as a diplocyclonic-zygosporoidal
cryptopoetics * which, veering n-dimensionally between katastasis and anastasis, traces the
movements of the spirogram itself at the limits of human intelligibility and the limen opening up
to the non-human,- to the cosmicist horror, the abyss. Finally, this recursion offers the possibility
of a new metaphysics in the form of 'lossless abstraction' and thus an escape from
Freudo-Lacanian nihilism, (This 'intrinsic operational code', that is, the notion of intrinsicity
itself, insofar as such a code produces all of our 'notions', will be explored shortly, in terms of a
'temporal-binding' of informational structures involved in the very emergence of consciousness
from a flattened spacetime.) for, by adopting a chiral nature or enantiomer, it obeys the law (of
the Pyramus-Thisbe operator grounding the possibility of extimacy, in Kunze's vocabulary;
Bataille's 'missing third') that otherwise stereognostic or symmetrical systems cannot be
collapsed down to some reductive form, like that of the diagonalization matrix in physics, within
which eigenvector-eigenvalue pairings are articulated,- [Kunze, Unlimited Semiosis and the
Calculus of Predication. Note that the enantiomer indicates a 'non-relation', that is, a conceptual
leap that cannot be repaired by the typical dialectical processes whereby one concept is extracted
from another through a stabilizing adiabasis of an oppositorum, given the fact that the two
concepts here are essentially identical,- a non-opposition or asyntheme,- utilizing the
chrysopoeic imagery of Cassandra's golden urobour,- unreadable save through its very chirality
or 'reversal'.] systems between which a symbolic gap therefor persists and, in that very
persistence, open up a temporality through which the gap, or what Lacan specifies as a remainder
not fully incorporated by the Symbolic, (a remainder more intuitively visceralized by perhaps the
most profound metaphor of the female's psychic integration within the masculine fantasy,
namely the virgin offering to the flame of Hestia, emerging as a goddess from her bed of mortal
ashes) resists conformation, as a machinic syntax, to the mode of abstraction (the 'semantic') and
is instead connected to a spacetime construct, ie. materially reified as a product of
value-exchange, destabilizing or 'interrupting' the semiological ascription of value (what de Man
calls the intrinsic-extrinsic metaphor in Semiology and Rhetoric) in the constructive efforts of
human cultus by an 'irreducible spatial interval' or διαστημα,- ab volubili statu in secretum,
omnium mortalium inaccessible essentiae,- [Valentinii Stanselius, in: Uranophilus Coelestis
Peregrinus sive Mentis Uranicae Extases. Quamuis enim Deus nullo loco circumscribatur aut
indigeas, sed ubique sit: coelum tamen hoc veluti praecipuam sua majestati delegit arcem: ut ab
iis quos in terra producturs erat, tanti loci dignitate et excellentia sanctius diligentiusque
observaretur. Note, Pauli Merulaeus, Astrologia Quaetenus Licita; P. 56 of the Cosmographiae
Generalis. Hoc Coelum ab omni hujus mundi volubili statu in secretum, omnium mortalium
inaccessible conspectibus, essentiae divinae quasi sedes & διαστημα. (diastema) Here we find a
rich symbolism of this "irreducible space". (The Greek term roughly translates to interval or
space, like that between God and Man, or between the earth and the heavens.) We are told that
the symmetry of the earthly domain demands an affine conformity among the stars, and further,
to the Empyrean. Here, our author displays his rather innovative hermetickal praxis by imagining
a stable point at the center of the mundane universe,- the 'secretum omnium mortalium
inaccessibile',- which, much as the toroidal gap of the Lacanian field of discourse reproduces
peripheral tears when unfolded into a lower-dimensional geometry, then sympathetically attracts
him to the center of the heavens through the diastema, or an intervening gap, and then to the
center of the supra-celestial, such that an associative web of parallels begins to unfold (the
"ecstasies") within the three worlds, (the terrestrial and elemental, the heavenly, and empyrean)
with the planetary bodies becoming the heavenly sacraments, the stars becoming the patriarchs,
etc.] through which any dampening signal must be relayed, [An interval exposed topologically
by the production of peripheral cavities (gaps', eg. tears, holes) while unfolding a torus with a
central cavity into a cylinder. Note Chattopadhyay, in "Beckett, Lacan and the Mathematical
Writing of the Real": "The cuts of the body and in the body expose a limit where one body
couples with another, only by maintaining an irreducible spatial interval."] that is, (interrupting)
the symbolic exchange, and on that account metaleptically charging a cross-current against **
which the Socratic dia-noia or 'flight of soul' must labor incommensurately to restore the 'whole
man' of a subjectivity now divided from itself out of an epicritic or 'normative' temporality
which, presuming a series of interlinked predications within which subjectivity is entirely
drowned by the 'decadence of nature', as poeticized by the allegorists, or 'noia', (the emptiness of
time) connects the beginning of something to its end,- duplicating the remainder of the 'material
transaction' through which, even in the face of more liberal politics and the deconstructive
reduction of metaphysics to a primordial syntax, or any other apparent subversions of the linear,
inter-linking schematism of time, re-deploys itself within the 'genetic pattern of history' through
a 'mysterious connection' or δαιμονιον between Spirit and Nature, extended by the
self-perpetuation of techne even within the strictures of a 'global structure',- *** eigentümlichen
Zusammenhangs von Geist und Natur,- [Refer to: “Subjekt, Information und System: Zur
Atiologie von Prozessen der Transformation sozialer Wahrnehmung in formale Symbolik.”
Helmut Wenzel; Dermstadt, 2000.] and therefor re-asserts the tyranny of the primary-process
over the secondary,- [Note: The Ends of Theory, P. 43-45. Here we find a formula for de Man's
'material remainder'. The ultimate test as to whether or not something truly undermines the
genetic pattern of history would be the impossibility of writing the history of that thing, 1 as de
Man says of Romanticism.] of Selbstobjektivation over Selbstverwirklichung,- [Note:
Reflexion und Dialektik im Zeitalter der Kybernetik, by Gunther Maluschke. "Identitat des
Subjekts und des Objekts als Selbstverwirklichung des Geistes, ... Wird die Entfremdung aber in
erster Linie als Selbstobjektivation."] just as the 'feather-soul' of the Persian poets or barzakh is
pulled back to earth by the accelerating pneuma of the Stoic continuum of nature, which drives
an expanding universe and, by virtue of some theoretically irreconcilable 'dark energy', inflates
the liminal boundaries of things,- the supple aura or 'magickal' glow within which such a
feather-soul is naturally compelled to wonder the courses of the stars and the spaces between the
stars,- to their tensile limit. [To recall my own AGR: 'all that confesses itself to the sands, is
blown away with the sands.' As to this notion of the feather-soul, refer to imagery borrowed from
Vivek Iyer, in: Ghalib, Gandhi and the Gita.] Managing this remainder, as the basic aporia of
philosophic discourse, must be the first task of a new metaphysics, given the fact that it later
initiates the hyperinflation of mimesis whose problematic I have addressed at length elsewhere.
1. I would insert here a note on de Man's challenge to Romanticism and, by extension, to History. Let us recall the literary programmatics of that
Romantic poet par excellence, Coleridge, which involve an incorporation of historical materials within the process of individuation, that is, the
creative manufacturing of an authorial voice,- especially those related to distant and forgotten lands, which so enraptured the romantic
imagination by dreams of strange Orientalisms and Arabic deserts,- to the extent that this extrinsic historical material, by re-conditioning the
narrative-forms employed in the telling of history, undermines the unconscious presumptions at work in the process of historicalization itself, out
of which the poet (the poet as the true 'teller of history', for the 'keeper of the histories' was precisely the social role of the poet among the
ancients) discovers his own voice and extracts, from however opaque and distant a substance, a fledgling identity to stake against the encroaching
Heraclitean tides of time unmeasured,- like the 'child of Aeon' defending his castle of sand against the threat of age,- of age without history. We
might say that it is just this programmatic, that undergirds the whole phenomenon of Romanticism,- a phenomenon to be read as more of a
cultural event than a historical epoch,- than any one single point in time,- and one that has ineradicably altered the meaning of the very 'history'
whose inclusion within the creative process it both parasitizes and rejects. The Wasteland of Eliot, the crumbling mounds of Latin and Greek,
much like the Cantos of Pound, would in this case represent not a surpassing of Romanticism, nor even the fatal conclusion of a Romantic instinct
left to its own devices and plundered historical treasures, but simply a 'de-Romanticisation' of History,- a re-assertion of the primary-process over
the development of the self,- over individuation, and therefor a kind of cultural regression. Note, concerning this reading of Coleridge's basic
literary programme: K. Toor, out of Cambridge Scholars Publishing: "Coleridge's Chrysopoetics: Alchemy, Authorship, and Imagination". In
particular, "Deliberately alienating himself from his words in order to view the question of a unified authorial subjectivity, Coleridge arrives,
rather paradoxically, at a deeper understanding of the true nature of the self." ... "Coleridge's prose involves the wholesale incorporation of the
words of other writers to such an extent that we might say it becomes the work that exerts its effects upon it."

* The diplophase activates meiosis immediately when environmental conditions are met, whereas the haplophase is dominated by selective
pressures on the gametophyte, with the implicit analogy signifying the opportunistic 'hi-jacking' of disparate studies, different fields of discourse,
etc. by the viral activation of the 'intrinsic semiotic'. Cyclonic refers to the Bataillean cycles whereby system is collapsed from within to discharge
excessive libidinal forces and thereby stabilize certain entropic stresses. Recall the 'diplozygotic spiral' of the CCRU, a less developed
conceptualization of hypermorphism and antimorphic projections, whereby a dimensional collapse of the numerically integrated nummogram,
intended to re-visualize certain structural deformations of the decimal continuum, is initialized through a purely diagrammatic combination of
decadic ordinancies and 9-sum twinning.
** This cross-current functions as an entropic table, stochastic resonance, a 'digital salt' or white noise, etc. through which a dampening signal can
be propagated and therefor strengthened, or through which inaudible signals can be made audible. However, the "voice" extracted by this
metalepsis is only the vocity of the material transaction or value-exchange, whose remainder functions as a phantasmatic projection of the
Unconscious or libidinal-surplus haunting the logic of Capital's 'utopian signifier' with de Man's 'material remainder' like the 'netherworld' of the
Gnostic contagion.
*** The global structure, ie. the Gesellschaftsstrukturen. Note, continuing in Maluschke’s text: "... nach dem Sinn von Macht und Herrschaft
ebenso, wie nach deren Ursachen. Sokrates, der den Fragen des Daimonion lauschte, seiner inneren Strimme, die ihm Fragen stellte und ihm
gleichwohl niemals gultige Entscheidungen vorgab, die zutreffen er nur aus eigener vernufstiger Reflexion heraus zu treffen bereit war, folgte
diesem Anspruch bis zur Selbstaufgabe." Corollary to this point, we find, following a certain extrapolation of the Hegelian system, that the logic
of predication re-asserts and perpetuates itself within the "global structure" through an irreversible limit that sublimates the entropic trend of
linear-expansive, (global) reversible predications, while a reversible limit sublates the negentropic, local liberation of productive energy across
the chiasmus achieved by some irreversible operation,- [Note Iniguez, in: Toward the True Second Law, Part IV: A Dialectical Contrast between
the Negentropic Formulation of the Second Law of Thermodynamics and the Law of Increasing Entropy. "The 'tug of war' between the reversible
and irreversible opposites is here shown for a selected number of efficiencies of operation. The total entropy change is in each case determined by
the algebraic addition of their respective contributions." ... "... no description or quantification of the heat-degrading, work-losing characteristic of
real heat engines could be possible without the irreversible limit, just like no description or quantification of its work-producing capability could
be possible without the reversible limit ... They are connected by a feedback mechanism that assures that when the contribution of one of these
extremes increases the other one decreases."] like the 'paranoiac operator' of Kunze's extension of the Bloomian ratios (as formulated in the
Anxiety of Influence) to a calculus of predication, through which activation the subject strives to defend its identity against disappearance into the
all-consuming (conspiratorial) network of interlinkages it is confronted by in social life after having encountered the trauma of the Real,- which
imposes a disruptive decoupling within the subject's own internal network of interlinked predications,- (the 'narrative' of its life-story) as well as
various forms of conversion, by constructing a site of exception within which to extricate itself from ideology's causal chains,- a site achieved
simply by refusing to discover itself within those chains, to 'find itself' through those interlinkages, while still leaving open enough of the Abgrud
to economically materialize the elements of the inner-fantasy, which are thereby rendered palpable to the workings of theory, that is, to the more
complete, liberating efforts of psychoanalysis. The Siren-call of the Hegelian system is to be found, in short, in the fact that the dialectic can
submit itself to the dialectic, that is, the dialectic can synthesize itself with its own antithesis, with any opposing system, thereby drawing a person
back into the dialectic all the more thoroughly for their having resisted it. Only the "self-reversing" property of an established "cryptopoetics",
following vocabulary outlined in this text, offers the possibility of truly interrupting the linear chain of signifiers, as opposed to the possibility
defended mostly by faith on the part of the Heideggerians, whose idea of the 'Negative' recapitulates a deeper Hegelian logic in that the Negative
is presented as a kind of hallucinatory 'anti-perception', [We might trace this 'anti-percept' of knowledge to Plato's defense of an independent
category of cognition, that is, a 'pure contemplation' or, as Plotinus indicates, an inward turn, (epistrophe) whose destiny were hardly knowable
by mere psychology,- a redemptive instinct (as opposed to the apperception of the Kantian schemata or a kenotic emptying of the abstracted
Descartean cogito to precisely that perceptive field repudiated by the contemplative mode) which must on that account "work itself out within the
heart of the individual", whose ends could not be reduced to physis, as little as they could to the 'nihil fragilius terra alit homine' of a more ancient
cynicism. (Nihil fragilius terra alit homine, ex omnibus animantibus, quae super terram spirant & serpunt. Petri Coelemannus quod Stettinensis
Pomeraniae: Opus Prosodicum Graecum Gnomologici.) To this point, I will cite Frantisek Novotny, in: The Posthumous Life of Plato: "Plato's
contradiction between knowledge (επιστεμε, episteme) and belief ... was removed by Speusippus by applying the epithet 'scientific' to both kinds
of cognition ... Plato in his younger years would have certainly considered this unification of the notions of knowledge and perception a
blasphemous oxymoron." The introduction of the "scientific" as a mediating or synthematic discourse between the logos and pathos, the episteme
and sensory perceptions, knowledge and 'fact', etc. could, in more modern terms, be compared to the pernicious rise of 'scientists' and the logical
positivist doctrine of falsifiability, on which basis other discourses can simply be disregarded, or thrown aside even without a thought of
deference or consideration, despite the fact that the doctrine of falsifiability is not itself falsifiable. The conception of a 'pure contemplation'
detached from all other modalities of knowledge appears in Christian theology as well. Note J.R. Turner Eaton, in: The Permanence of
Christianity, Considered in Eight Lectures; 1872. P. 109. After citing Smith's Lectures on the Study of History, "If a man be no higher in his
destinies than the beast or the blade of grass, it might be better to be a beast or a blade of grass than a man.", we are told that the original purity of
a rational being lies in the uncorrupted will, which is one with the law commanding that being, (for that law is nothing but the image of reason in
which any rational being is formed) such that any theological dispute concerning the "freedom of the will" (like those surrounding modern
discussions of neurology, determinism, etc.) were merely a fallacy or play of words.] as given in the Abgrund of Heidegger,- or Identity, not as
any particular meaning, (be it based in gender, race, nation, etc.) but simply the echographic or resonant expression of the Abyss (Something that,
at least in Heidegger’s estimation, offers a space within which to think the togetherness of Being and Language, and therefor the possibility of
Identity. Note McCoy, "Text Machines: Mnemotechnical Infrastructure as Exappropriation." The offering of this space, originating in a passivity
to the Abgrund, then compels an activity, namely that of a Dasein thrown into this very space, therefor reinitiating a procession of opposites, the
development of a 'global structure', and eradicating the subtle trace of the 'tantum singularem'.) which generates History, through the unreadable
dialectical veil of its inscription, as a mnemotechnological ascription of "forgetting's" historiography, [what I have elsewhere described as "the
abortive semiosis of the generative moment of speech itself"; or, "the ineradicable silence of Negativity, ... through which alone speech might
reckon with its own finitude and thereby produce actual meaning." Agamben writes, in "The Idea of Prose", a quite poetic, meditative
formulation of this idea. As he states, "While nature and animals are forever caught up in language, incessantly speaking and responding to signs
even while keeping silent, only man succeeds in interrupting, in the Word, the infinite language of nature and in placing himself for a moment in
front of mute things." As Justin Clemens notes, (From "The Role of the Shifter and the Problem of Reference", P. 51 of: "The Work of Giorgio
Agamben; Law, Literature, Life.") concerning this passage, Agamben's thinking must pass through,- in order to reconcile itself, in its emergence,
to the glimmering of the Event, which is Language's Other,- a certain Negativity not yet diffused by the dialectical process,- the paratactic "veil"
spoken of here, thereby effectuating a radical state of separation, namely from the mute 'body' of Nature, within which an "irreducible space" is
established such that the Absolute can rise as a part of the emergence itself, that is, as a pre-incorporated or subducted component of Language's
own emergence, having been secreted under the 'veil' of the inscriptive process; within which an irreducible temporal "interval" is torn open,
recalling Kafka, such that the "last day" or apocalypse,- the catastrophe, ie. the end of time and of the earth,- might differentiate itself from the
anastrophe, ie. from "the very last day" or eschaton, this being the end of the emergence of language to language's Other and the basic
eventuation of the creative impulse set into motion by God outside of the constraints of temporality, succession, and predication.] by which the
collected resources of our cultural inheritance are dissolved into replicant algorithms, search-engines, neural networks, and training data-sets,
(Big Tech; social media, etc.) re-synthesized in accordance with an obfuscatory dialectical process, (ie. a synthesis with the "Utopian signifier";
what, in my language, we refer to as the 'ascription' par excellence, or, drawing from the relevant psychoanalytic, the 'epistasis') and finally
reified at the level of the material transaction or apodosis, (whereby the value-exchange function is self-sublimed as the tautological completion
of capital's underlying logic; a Landian teleoplexy or "capitalism selling capitalism") thereby closing the chiasmus or gap (of the
symbolic-exchange) through an inflationary "free-mimesis" and thus also closing off any possibility of the kind of cryptopoetics suggested here.
This closure of the ascription is read as some kind of a salvation of human nature by certain researchers, or to note the abstract of McCoy's
analysis, which articulates the basic goal of charting the inscriptive process: "... mnemotechnics is the task of thinking the historiography of
forgetting, which is to say, the task of representing or, at least, charting that which might be said to “generate history” by dint of the
“unreadability” of its inscription. ... whose infrastructure can only be approached by a "a tautological thinking that constitutes the only possibility
for thinking what dialectic can only veil. ... I read the technological “danger” that faces and defaces the humanities as the saving power by which
our collective memory is dissolved and resolved through the mechanism of thematization and citation." Unfortunately, free-mimesis prevents any
"re-inscription" of the material remainder from taking place after this terminal point is reached, (preventing the re-solution of a technologically
deconstructed collective memory into the kind of trans-national, trans-racial, trans-gender 'globalized' identity hypothesized by McCoy, otherwise
invoked in my own texts as the revelatory "anastrophe" of accelerationist doxa) therefor inaugurating the actual technological danger of the
automaton by virtue of a 'merging' of inscription and incorporation leading, inexorably, to an "infocalypse", whereby merely gazing upon the
spectacle of endless virally replicating memes, the indiscernible sprawl of social media posts, etc., or otherwise interacting with it, swallows one
up into it,- forcing one to engage in it,- namely by converting one's interactions into yet more data, harvested in the service of an algorithm and
added to the ever-expanding storehouse of information upon which it is trained and further perfected. Note Hayles, in: "How We Became
Posthuman, Virtual Bodies in Cybernetics, Literature, and Informatics; The Semiotics of Virtuality"; P. 274-276.

CCRU researchers also believed that information-loss (what Barker called "segmented
redundancies",- ie. organizational complexes of suborganizational tic-progressions; concepts like
intentionality or subjectivity, by which tics are reified as distinct informational structures and
'overcoded') occurred through these typological abstractions or metaformalisms ingrained in both
the scientific and philosophical modalities, ("Metaform" suggests a concept borrowed from
CMT, a semiotic theory working from ideas present in I.A. Richard's 1936 "Philosophy of
Rhetoric"; refer also to Danesi's "A Note on the Notion of Metaform and its Implication for
Semiotics.”) and that the cosmic Ground existed as a singular, great, omnipresent tic-system
whose contents were unabsorbable by any mode of binary segregation and thus, decidedly
impermeable to any attempted hypo-mnematic digital conversion into a computable structure,
that is, an 'informational' contents. A conspicuous programme may still be emphasized here: a
lossless abstraction is required, if one is to overcome that line of critique,- a criticism amounting
to what I elsewhere call a 'reification of an ontological minima', whereby difference is cleaved
from the eidetic and re-precipitated at the pre-symbolic register.

The lossless movement toward higher levels of abstraction, which we have committed to in the
current text, can be conceived in terms of different, hierarchically nested syntactic and semantic
levels, * as given in Weizsacker's informational theory of ur-alternatives and the reconstruction
of physics by geometric projections of atomic informational units, as well as enriched all the
more by Tononi's theory of Integrated Information. The entirety of a lower level's informational
content, from the perspective of a higher one, becomes a syntactical information quantized
spatially,- as something like the hypergraphic projection of character-strings processed by an
L-System or nested Paun-membrane,- (Wolfram has, working from earlier studies of cellular
automaton, even extended the iterative processing of a rule through such systems to a general
theory on the formation of parallel universes, assuming that the seed-string for the production of
a universe equivalent to our own would, if it could be found, thereby reveal to us a perfect
knowledge of its derived constants and laws. Note in particular, the idea of firing-squad and
'intrinsic synchronization in cellular automata' as applied to the non-interacting convergence of
parallel worlds.) while the content of the higher level remains a semantic information qualified
temporally, that is, an 'intrinsic' informational content tied or 'bound' to a certain semantic level
of organization particular to its own evolutionary and dynamical structure, within which an
enclosed causal chain is auto-propagated until reaching thermodynamic equilibrium and its
entropic maxima. An example would be, if asked what a page of printed text said, (upon which
the word 'dog' had been written) one were to first enumerate the precise molecular configuration
of a type of ink used on it, along with the number of atoms constituting it, etc., which would be a
syntactic information when opposed to our answering the question from a higher semantic level
by simply saying: "the word dog." The higher, semantic information specifies a structure
meaningful only from the vantage of its own specific organizational level, (this vantage being
what IIT calls a cause-effect space, although, peripherally, it may prove beneficial to recall what
is named in Wolfram's physics a 'causal network', specifically of the type whose evolutionary
progression unfolds independently from any applicative rules-schema; see P. 514 of a New Kind
of Science) and that semantic level is oriented between other levels, for whose configuration a
notion of temporality is required. Higher semantic levels designate a maximal structural
collective in the same way the word animal 'contains' the word-concept dog, as well as zebra,
raccoon, etc. but the word 'dog' does not contain the word-concept animal, (nor, by extension,
any of the other ectypes if of the concept; zebra, raccoon, bird, etc. etc.) upon which it depends,
as lower semantic levels might be translated into spatial quantizations of discrete units for what,
in the higher level, is temporally qualified or 'bound' as a single structure of such units working
upon its own enclosed 'causal-universe'. At the lowest level of purely syntactic information, there
is no time, no structures, and the entire Universe exists as a distribution of informational atoms
across an n-fold convertible, through multiple quantization of parabose tensors, into a single
complex-valued truth variable devoid of intrinsic content. The interaction of objects over
multiple semantic levels can only be described through temporal-binding of the inherent
structural collectives within these levels, and this binding is precisely what 'consciousness' is.
While, from the lowest syntactic level, [Note that, at the level of the urs, which would be the
lowest syntactic level, the mathematical continuum (what, at the semantic level, we know as the
'number line') is synthesized by way of a purely sequential compilation of pre-rendered
interpolative strings whose binary syntax (eg. numerical value or quantitative information) does
not correspond to an identifiable pattern or what Land names a linear-positional encoding, for
which the basic Kantian conformation of arithmetic to temporality, again recalling Land's
treatment of xenonotated tics, modelling succession progressively in the form of n and n+1, n+2,
etc., gives way to a re-conceptualization of continuous operation in the form of a non-progressive
synthesis devoid of consistent scalar definition or thus an equivalent vector space in which
continuous or quantitative trends could be axially mapped in order to plot a heterogeneous
succession as the homogenating progression (of a singular or connected system) intelligible to
temporalizing subjects, nor bijectively mapped so as to automorphically derive a group or
ring-symmetry, (or again, a vector space) simply indicating that the mathematical continuum
itself, at the level of the urs,- along with any sub-set of the continuum,- (meaning any of the
binary strings constituting its basic syntax) cannot be mapped to itself while preserving its
structure in the morphism to which it has been mapped. That fact means, in other words, that we
have truly reached the lowest syntactic level, for it cannot be any further reduced,- it has no
isomorphism, just as the Reiger-Nishimura lattice proposes a fundamental limit to knowledge, at
least in the form of intuitionistic propositional logic, by exhausting all possible propositions
through conformation of their equivalence classes. (The lattice contains an infinite set of
formulae, each invested with precisely a single propositional truth-variable,- ie. a free Heyting
algebra over a single generator,- disclosing the 'hidden argument' of propositional logic in that
one cannot choose between arbitrary operators in an arbitrary set vs. arbitrary operators within a
larger set over the infinite permutation of basic combinatory truth premises. In other words,- no
formulae within this infinite set is equivalent, that is, no isomorphism exists between one set of
operators and another.) In terms of the psychoanalytic registers, at this level we are dealing with
the Real; the all-dissolving nigredo of the alchemists, the primordial abyss of cosmicism and
Lovecraft, the meteoric omphaloplasmate or Gnostic angel whose wings caught aflame while
falling back to Earth, the Pandaemonium of CCRU researchers, 1 the spaces between the radiant
shells, glowing in the infinite darkness of the 'divine unconscious',- the contractions of the
tzimtzum reverberating against the abyss before Creation, etc. This abyss occupies the liminal
spaces of (and between) the semantic levels, that is, the 'ontological gaps' within the fabric of the
'Imaginative-Real',- liminal spaces (demonic presences, half-gods and the like) that are only
cathartically purified at the highest semantic level,- that of the divine perichoreia, the Gnostic
pleroma. Such limens can of course be explored through the manipulation of chiasmatic
reversals,- 2 (a crossing of the 'gaps') a basic feature of my own cryptopoetics, to which end we
must devote ourselves, if attaining the transcendent vision of the highest semantic level is a
philosophical priority. Through such a poetics, the Real is ushered forth as a traumatic
decoupling of objects formerly connected by our symbolic networks through
temporal-progressive or predicative logic,- a rupture in which the symbolic network identifies its
own Imaginative gap, thereby reversing the 'external monstrosity of appearance' by means of an
'intrinsic operational semiotic', (tearing the mask from the strange god) that is, an encoding or the
'veil of the Real' taking the form of a god or otherworldly entity,- (Hastur, Melville's 'demon god'
and whale, etc.) and finally de-codes its own predications through an internal rupture of the chain
of signifiers,- opening up the limen or 'mental space' from which the mad prophet, raving
Cassandra, or blinded Tiresias utters their incomprehensible prophecies and strange portents of
nameless gods,- and that upon whose limit the human subject demarcates some kind of ineffable
terminus,- the point at which their mind could not any further venture toward the fulfillment of
the perichoreia, toward the transcendental, toward the "in what splendor, it all coheres" of
Pound's Herakles. Hence the Lovecraftian trope, in which the mere sight of a transcendent
creature causes madness. This is because the creature represents some fatal limit, the border upon
an internal, liminal rupture in the chain of signifiers. Note that, while one might employ an
ultimately de-coded xenonotation or reduced syntax to dissolve structure into process, to
submerge Form into energeia, to deconceptualize and de-konstruct, etc. it is through endless
reversals across the chiasmus that one drives the intellective circulus, retroactivating a
vertical-daemonic element (eros) at the moment of 'apocrisis', that is, the repulsion of the
symbolic border generated by human speech,- ie. the decoupling of the signifier, ascending in
this way toward ever higher Forms against the horizontal-diffusive void (thanatos) filling up the
space of the limen, until, at some ultimate height, the vision of Transcendence attains a
perichoreia outside of a flattened, finite spacetime.] the Universe would simply be the endless
permutation of a single atemporal truth variable [Note: Zofia Kostrzycka. On density of truth of
the intuitionistic logic in one variable. Fifth Colloquium on Mathematics and Computer Science,
2008, Kiel, Germany. pp.449-460.] (like the semantic logical-matrices in many-valued logic, or
specifically the Brujin-torus of a certain alphabet, that being the 1-bit length binary states of the
ur-alternatives in this case) composed of atomic informational units in discrete parallelization on
the Hilbert space, from the highest semantic level the Universe would be a single temporal
catenation or "processing" of maximally complex informational structures, that is- it would be a
single "thought" occurring to a single structural processor of maximal complexity, (the measure
of such a complexity is specified in Integrated Information Theory) that is, a single 'mind'. The
temporal-binding through which collectives are adhered by structures existing on distinct
semantic levels specifies a notion of temporality other than that implied by the 'time' of the
Eisenstein cosmos, ie. spacetime; the temporal-binding specifies a temporal dimension in
intrinsic terms, through which alone any movement from one semantic level to another can occur
in a manner describable as information, that is, in terms of yet a higher semantic level. This time
dimension is properly, given its intrinsicity, (Note: the intrinsic postulate of Humean ontology
states that any point or atomic-object possesses thereby its own potential state,- a binary state in
our conjecture,- and is therefor separable from other points within the same spatial continuum.)
the dimension of consciousness, whose existence we recognize as the single intrinsic fact
available to us, and, because this 'temporal-binding' exists as a physical constant emerging from
the forces of nature just as much as magnetism or the spin of subatomic particles, we have a
version of panpsychism, in which consciousness is described as a fundamental feature of the
universe along with the other physical constants. This conclusion demands insight from Koch's
panpsychicism and Tononi's theory of Integrated Information, (IIT) in which what we call here
the 1-bit atomic ur-alternatives indicate the simple 1-bit probabilistic binary elements of a
cause-effect space, whereby the possible evolutionary progression (the possible consciousness)
of any system is plotted as a singular point in the higher-dimensional projection of that space, ie.
what would be a space-time continuity, in the same way that the ur-alternatives plot a temporal
progression from a one-dimensional plane describable solely in terms of a discrete syntax or
serialized symbol-string, and thereby compose increasingly dynamic, complex structures at
higher semantic levels, namely those for which multiple dimensions exist, just as the
minimal-potential equilibrium of the Lyapunov function is revealed, from the most transient and
microscopic perturbations, to belong nonetheless to well-defined stable geometrical structures
within a larger parameter space. Thus a 'larger parameter space' by which greater structures can
be abstracted from the urs, that is, by which a movement toward a higher semantic level can be
achieved, will be explored briefly in the remainder of this essay.
* Note that this 'lossless movement' toward 'higher levels of abstraction' can be conceived of as a kind of evolutionary cosmos. In the phrase of
Lyre, "Cosmic Evolution as an Evolution of Information". Note Holger Lyre's 'The Quantum Theory of Ur-Objects as a Theory of Information,
1994: "In ur theory a method would be needed to describe the change of semantic levels in a general way. This could presumably be done in von
Weizsacker’s procedure of multiple quantization (in German, Mehrfache Quantelung), which has to be regarded as an iteration of
complementarity logic. This means that the components of an n-fold alternative correspond to complex-valued truth variables. The question arises
of how this procedure can be connected with the parabose quantization to reach higher levels. The first three semantic levels so far seem to be: ur
alternatives, parabose tensors of urs, and elementary particles as described above. "
1. The CCRU identifies 'demons' as semi-autonomous swarm-collectives emerging from the Grund (the urs) at various abstracted or 'semantic'
levels, occupying the intrinsic instabilities within the ontological fabric or limen of these levels, yet also for the same reason belonging to larger
arrays themselves, for whose subsumption one demon may become the 'subservient' or 'mask' of another, more integral one. Thus, in Lovecraft's
classification, we have the Old Gods and Great Old Ones, much as we have the Titans and Olympians in Greek mythology.
2. This exploration is also the task of 'mythology'. Myth is not primordial quasi-religion, or some kind of incubating antecedent for religion,
inasmuch as 'religion' is not a logically necessary progression in the development of myth. One would do well to fully differentiate the two. Myth,
whose modern equivalent is what the CCRU named hyperstition, is an artificially constructed, imaginative-poetic history (Like those for which
Lovecraft is infamous. Note his production of false documents, eg. the Necronomicon, as well as false actors, eg. the Mad Arab.) that, when
superimposed over 'real history', overloads the symbolic gaps, fragments, miss-identifications, contradictions, etc. in such a way as to explain the
tears in our own history (This explanatory mechanism is what I call a 'hypermnemata'. Just as, in Stiegler's thesis, the hypomnemata is any
'external memory-device' or narrative formulae that conditions the subjectivity of those utilizing it to shape their history, so the hypermnemata is
an external memory device that conditions other memory devices, that is, the hypomnemata.) that an empirical science, even in principle, cannot,-
and even convert them into energetically charged limen capable of propagating a discursive metalepsis across disparate, otherwise disconnected
semantic fields, that is, the autonomous or 'internal semiotic' discussed in this essay, which we must recognize as properly the secret of the
Kantian schematism which Kant himself, unable to properly articulate, was forced to dismiss as an 'art concealed in the depths of the human soul',
like all philosophers do with regard to their integral but inexplicable premises. Myth achieves this because, as discussed by Heraclitus, (and
argued equally in my own "Mythos and Ontos") it is naturally paired to the reinscriptive processes of the Logos and thereby intimates the direct
affirmation of Being, that is, a 'Doric trace' reaching back toward some occluded point of origination of the human cultus,- an affirmation from
which we are eventually disconnected by the linear development of techne,- a 'thaumazein' whose revelatory contents generates the circulus of
Vico's imaginative-universal, which structurally inheres an underlying pattern of material history that no 'particular' or empirical science can
access. A constructed history that is unable to do this, is simply not a mythology, but only a more elaborate fiction, like that of Tolkien or Star
Wars. For this is the function of mythology, as understood by the ancients who engaged directly with the still living mythos themselves,- as
opposed to modern scholars. Given the fact that the 'real history' of the ancients was so unreliable, the use of such a mythology is evident,- though
one might say that our own history is, if in other ways, even more inaccurate than theirs. Inasmuch as knowledge, that is, the ability to explain, is
itself power, so it was independently discovered around 2015, in no small part due to events surround the US election, that a hyperstition
superimposed on 'real-history' in this way, if it could repair the gaps within the later, might be utilized to not only explain otherwise
incomprehensible features of the 'real history', but to influence events in that history, therefor offering an alternative source of political power for
those who musingly named this force 'meme magic'.

[Parodites]

PART II
-----

Just as any conceptual structure can be plotted as a constellation of points in cause-effect space,
(as what adherents of this theory call stars) so the temporally-bound or 'intrinsic' semantic
contents of any conceptual structure are derived out of simple spatially-bound ur-alternatives
forming what IIT calls a 'complex' or 'maximally irreducible cause-effect structures', to which
they ascribe 'consciousness' as a certain probabilistic star-magnitude, (This magnitude represents
a cause-effect potentiality, and the intrinsicality of a distinct structure specifies that the structure
in question possesses a potential cause-effect upon itself, thereby enclosing its own cause-effect
space from any extrinsic agents and establishing an irreducible informational content available
only from its own perspective,- establishing, in other words, an intrinsic informational-processor
we call 'consciousness'.) whose exact mathematical value can actually be computed, (IIT
indicates it with the Greek letter Phi.) though it demands intractable resources not yet available
to us.

In short, the theory of ur-alternatives reconstructs physics from 1-bit informational units, and IIT
reconstructs consciousness from 1-bit informational units. Combining the two, one arrives at a
theory of consciousness and its emergence from a flattened spacetime, occupying its own
'intrinsic space',- an intrinsicity that is, essentially, what we call time, or an as yet ungraspable
fourth-dimension. Following the theory of Urs, the first three dimensions appear during the
reconstruction of physics: ur-alternatives, then elementary particles as parabose tensors of urs,
and finally quantum field theory, in which the particles constituted by the 2nd dimension here
considered become merely syntactic elements within a higher semantic content,- namely, the
semantic content given by particles which become field quanta, at the third-dimensional level. At
this dimension, ur-collectives give way to un-readable (a la. the no-teleportation theorem)
quantum information whose continuous-valued trajectory (in terms of the typical representation
of spacetime in vector-space, as opposed to the algebraic representation proposed here, or even
that suggested by Baylis' treatment of electrodynamics; in particular, note the following paper:
Spinors in the hyperbolic algebra, S. Ulyrch. 2005: "The algebraic representation of geometry
has in general advantages compared to the conventional description in terms of column vectors
and matrices. ..." ) on the Bloch sphere demands a reformulation of emergent ur-collectives as
"paracomplex structures on a 2n-dimensional" [See: Cruceanu, Fortuny, and Gadea's Survey on
Paracomplex Geometry.] projective Hilbert space, that is, a correspondence of pure quantum
states, by way of Hopf fibration, to spinors on Riemann's extended complex plane, granting a
diffeomorphism of the urs and finally, a model of differentiable manifolds that may be useful in
theoretically reconstructing different semantic levels as symplectic manifolds, like those derived
from the Hamiltonian definition of the total set of a system's possible configurations (the total set
of a system's possible configurations would refer here to all the possible ur-collectives which
could be structurally bound as equivalent cause-effect spaces enclosed at the semantic level) as
modeled by a manifold whose cotangent bundle describes its phase-space. Thus we move toward
the fourth dimension, which would arise from the interactions of these fields: this dimension, not
yet understood by man, is that in which 'time' appears, (meaning, that in which time is
syntactically organized from a higher semantic level) and therefor, the intrinsic space occupied
by what IIT would call- 'consciousness', amounting to an enclosed cause-effect space operating
upon itself. The interaction of these fields within 'time', given the combination of the two
theories, would imply an interaction of enclosed cause-effect spaces, each constituting a certain
level of consciousness in the Kochian or panpsychic sense, from the causal universe of the
faintest consciousness, that is, the consciousness of a hydrogen atom, to the most developed
consciousness in a human being. How exactly these fields interact to produce an intrinsically
grounded temporal consciousness out of an atemporal fourth-dimensional composite of
interacting and enclosed fields within the third-dimension (quantum field theory) is of course not
yet understood, though Hinton long ago proposed that particles moving within the three
dimensions we would associate here with the third semantic level of the quantum fields, might be
succeeding cross sections of an un-moving, eternal, static fourth-dimensional architecture within
a fourth semantic-level consisting of world-lines passing through a three-dimensional plane.
Hinton even believed that man could access this eternal fourth-dimensional construct through a
kenotic process by which the self might rid itself of ideas like right, left, up, or down by utilizing
certain meditative techniques.

While purely neurodynamical theories of mind, (Note the following papers: Cognition poised at
the edge of chaos: A complex alternative to a symbolic mind, James Garson. Tim van Gelder:
The Dynamical Hypothesis in Cognitive Science.) lacking a more fundamental metaphysics in
support of a 'lossless abstraction', must return to the far more theoretically limited domain of the
purely quantitative and statistical, purely symbolic theories of mind do not consider the more
pronounced role for temporality proposed by the former camp in the emergence of
consciousness,- (the role of discrete evolutionary progression in the computation of cellular
automaton are, along with catastrophic bifurcation-theory and the more general study of
non-linear dynamic systems and SOC, all quite useful in further qualifying such a 'Kantian"
temporality or 'schematism' with arithmetic) like that demanded by any movement between
syntactic and semantic (eg. symbolic) levels in the 'conceptual binding' phenomenon; [As to this
phenomenon, stress must be laid upon the fact that language, contrary to the opinion of the
Chomskyians, is not reducible to a single mathematical function, but is 'semasiokinetic',
continuously relocating itself as an 'endonomon' between disparate 'syntactic' and 'semantic', or
neural and symbolic organizational levels. This is not to imply that the mechanistic engine of
syntax is, in line with classical linguistics, an autonomous cognitive process amenable to the
purely behavioral schemata of empirical psychology and a basic stimulus-response model, (eg.
syntactic processes as merely habituated response patterns to adequately repeated stimuli,-
nothing but Pavlovian crystallizations of unthinking reflex) yet the basic premise of generative
grammar,- namely the total reducibility of syntax to some singular semantic structure from which
its 'field of operation' could be miraculously reproduced algorithmically and therefor determined
by some global 'semantic argument', a possessive formula, etc. is quite clearly dispensed with
here in favor of what may be readily educed from what has already been said: syntactic and
semantic processes are propagated, through the mediation of coded machinic signets operating
on pre-linguistic, atomic informational units, by an internal semiotic, and therefor co-determined
by certain irreducible feedback mechanisms (what the ancients called 'mimesis') through which
they influence one another in a kinetic, 'molecular' assemblage, or a 'nomon'. The untold sums of
money wasted on graduate research programmes in the misguided attempt to extricate an
independent 'language faculty' from this molecular substrate, that is, from the underlying
cognitive processes and pre-linguistic structures from which language emerges, simply 'is' the
institutional study we call 'generative grammar', just as the faith in such an independent faculty is
Chomsky's universal-grammar.] levels whose interposition might be modeled by an
n-dimensional geometrical projection over the Hilbert space, namely as a nonlinear dynamical
system toward whose attractors we might associate various macroscopic self-organizational
patterns with forms of cognition. One might even utilize the 'phi-complexities' of IIT to generate
such geometries to serve as do the seed-strings for the initial processing state of an L-system, in
that a certain attractor might induce a fractalization pattern, similar to the induction of certain
retinotopic disturbances, * that could be broadcast on a monitor, while a human subject's
brain-activity could be recorded, simultaneously, by an EEG and then fed back into the system as
new inputs for the computation of the overall Phi-complexity of the now entangled system of the
human and external visualizer, and therefor for a modulation of the visible pattern. The subject
could be instructed to associate, mentally, various cognitive processes and ideations with various
patterns observable on the monitor, so that, as the EEG began to modulate those patterns, the
subject's reactions would provoke new features within them, which would then provoke new
reactions from the subject, and so on, influencing the subject's thoughts in a feedback process for
which the signal-noise of that subject, as consequent to any neurodynamical system, might be
simulated by the noise of the simulation environment, even to the extent of self-cancellation-
(Arrighi, Intrinsic Simulations between Stochastic Cellular Automata. On the simulation of
natural phenomena by cellular automata: "Fortunately when both the simulated system and the
simulating system are noisy, it could happen that both effects cancel out, i.e. that the noise of the
simulator is made to coincide with that of the simulated. In such a situation a model of noise is
used to simulate another, and the simulation may even turn out to be. . . exact.") in this way
providing a novel tool for a kind of guided Hintonian meditative process or a cybernetic
occultism geared toward a more controlled exploration of altered conscious states.
* The retinotopic organization of the cortex, ie. the mapping of visual stimuli through the binary on-or-off receptive fields of overlapping neurons
within the retinal stream, can generate geometrical patterns,- an inherent topological structure not otherwise participatory in conscious
awareness,- when over-stimulated by something like an epileptic seizure, whereby random discharges of neuroelectrically excited neurons within
the occipital lobe introduce perturbatory attractors to the cortical network mosaic, thereby revealing a SOC pattern (the epileptic, or likewise
someone under the influence of certain psychedelics, perceives this usually as unfolding geometrical patterns, honeycombs, arrangements of
cascading circles or other shapes, etc.) observed all across the order of Nature, as noted by Turing.


To summarize the metaphysics and cosmology, or the 'metacosmology' here proposed:

1. The 1-dimensional perspective: the 'infernal plane', the Real. The domain of the urs, or an expansive, infinitely extended atomic informational
structure composed of discrete 1-bit digital minima. All the parallel realities or many-worlds are 'fused' here; they are not differentiable. It is
what fills the liminal spaces, the 'site of exception', across whose chiasmus we invoke our 'gods'.
2. The 2-dimensional perspective: 'parabose tensors of the urs', 'multiple quantization', etc. Here, the worlds are differentiated into separate
universes, which are essentially massive ur-collectives, or ur-collectives of maximal size but minimal complexity: the many worlds of
string-theory and certain interpretations of quantum mechanics. The multiverse. The 1-d plane is given 2-d depth, meaning that it can be
subdivided into multiple 1-d planes, that is, multiple universes.
3. The 3-dimensional perspective: We know this one the best, because it's the one we live and move around in. Here, particles emerge, and with
them, the quantum fields. The quantum fields interact in such a way as to produce an 'intrinsicity', within which consciousness unfolds... in Time.
We cannot, from this perspective, understand how exactly the fields interact to produce this temporality, or consciousness with it: that requires
higher-dimensional thought.
4. The 4-dimensional perspective: The universe becomes a flattened spacetime, the observable sphere of our world is transformed into a
deterministic loop, a circle. But here, the other worlds become flat membranes as well, all stacked on top of one another, stretching toward
infinity. And above our flat time-horizon, and above all the others, there is a... "fourth-dimensional construct", as Hinton refers to it. It is
composed not only of all the matter in our universe, but all the 'matter' of all universes. It is the Ontos. It is Being, un-differentiated; eternal,
static, unmoving, unchanging; the ultimate; it is the Dragon, the Demiurge, Leviathan and Behemoth; it is Yaldabaoth, Samael, the Blind Lion;
the Serpent, the Fallen Angel; the God of Flesh, of Matter, and Time. From it, world-lines radiate, and these world-lines intersect all the now flat
planes, which are the 'many-worlds'. The point at which one of these lines intersects one of the planes, becomes a 'point particle', the elementary
particles constituting matter, from the 3-d perspective of those occupying the planes. And because the quantum fields overlap, sometimes one of
these world lines passes through the plane and crosses two or more fields at once. So the mystery of how the quantum fields interact to produce
Time is: they don't interact. What happens is, the same world-line passes through two or more fields simultaneously, so that the point-particle it
produces at its point of intersection has characteristics governed by all the quantum fields that were crossed by that world-line; we see this as an
interaction inside an enclosed 3-d spacetime, that is, as an interaction within time- but time is a predetermined circle from this 4-d perspective.
At any rate, this is how all the empty spacetimes of the 'many worlds' are populated with matter- with particles. This is how the quantum fields
'interact' to produce temporality and consciousness.


Thus we arrive at our conceptualization of the 'circulus' and its miraculous agon, a discourse
between Abyss and Form, Limit and Limen. We must not fail to keep in mind the opposing
viewpoint, for it has indelibly stained all modernity, that is, a disbelief or hatred of Form, of the
Transcendent. Freudo-Lacanian nihilism tells us that man thrives on the postponement of desire,
not in its relief. To satisfy a desire could even be painful, a hopeless 'jouissance' that can do
nothing but devastate us- assuming that the desire in question was an actually meaningful one,
something integral to our defensive strategy. And this is because the negative, empty core of our
artificially constructed personality structure, our human face, our mask- which is really just one
gigantic, inflated defense-mechanism, built up by indeliberate habitus, random chance, and
unthinking reflexes over the span of an entire life- this hollow core serves for our commanding
star, though it were a black star like those about which Heine sung,- a gravitational center for the
purposeless orbits of desire; it is the Angel spoken of by the Gnostic mystics falling back to
earth, his wings catching fire and burning away in the conflagration of matter, until, from his
outer climb, he landed upon the earth as a mere substance, as the 'nigredo' of the Alchemists, or
what they called the prima materia,- the World burnt down to some primordial uniform
substance from which to somehow extract the secret of Immortality; [A maddened faith and
profane gnosis encapsulated best by the poet of Kos, Epicharmus: "I were a corpse, and a corpse
is but excrement, and excrement is earth. But if earth is a corpse, I am not a corpse, nor
excrement, nor earth and dust- but a God!" From the poetical fragments of the
Pseudoepicharmeia.] dark, a fallen meteor; this emptiness, a black star around whose inescapable
gravitational vortex our bodies are decomposed, broken down into receptive organs and placed
into orbits,- endless circulations of libidinal surplus; self-propagating circuits and mindless
machinic code; endless orbits, cycles, circles,-- a circulation of desire around a missing object: a
circulation around 'the' missing object,- an endless wandering orbit around an absent center,-
around the fatal image of the woman we love, or around some infantile regression to the
salvation of the great Mother; (although, perhaps those two are the same thing) around the lost
innocence at the Garden, at the scene of the Fall, the apple of Knowledge and the snake, etc.
The prototypal 'lost object' of Freudo-Lacanian thought demands a reinvestment of libidinal
surplus, [The reification of the 'lost object' by a utopian signifier, finally implicated by the logic
of capital within the very organic substrate of its subjects, poses to us the fundamental 'dark pact'
made between the science of 20th century psychoanalysis and 21st century economics.] through
which the internal stresses of System are discharged as an entropic force (thanatos) so as to avoid
the Bataillean catastrophe, and therefor, even more importantly, the revolutionary reorganization
of the anastrophe, indicating a thanatos functioning as an autonomous drive instead of a merely
passive repulsion of the 'global thermodynamic trend', that is, un-living matter, against the
organo-metabolic energies locally transforming (perturbating) it,- and one beyond the merely
psychoanalytic categories necessary for preserving the dynamic features of the psyche; a
thanatos that allows the logic of capital to simulate a transcendental recession of the body,
propagating a demiourgiac antifetish through 'images of death' in lieu of an eros thwarted by
masturbatory deflation, (images like the emaciated model, etc.) while the true recession or
'apocrisis' of the body appears only at the destabilized core of the symbolic network, that is, the
limen beyond whose event-horizon the organs have been recomposed to form the 'meronymos',-
a body of light reft through sophianic death. In so many words, such an entropic force, when
adequately magnified, is able to access the logic immanent in the organism and overload it,
thereby retrovirally re-encoding itself and converting the organism into another extension of the
logic of capital, a locus of magnification for which its own conatus,- its rebellious frenzy against
the gravitational influence of the inorganic, that is, its will to survive,- is transformed into yet
another mechanism for the perpetuation of System, namely in the image of the emptied utopian
signifier, or the mortis imago,- an image of Death as the image of Transcendence. We might
consider at this point another useful operator to add to our emerging calculus, 1 namely what de
Man names the 'parabasis', (dedoublement) that being a chiasmatic 're-duplication' of the
ascription-inscription processes, the former signifying the allegorical 'infinitum' whereby the
formula of temporalizing sequence,- implicated by predicative logic in an irreversible semiotic
chain of elementary bijections stretching toward Infinity through the opaque mists of Miller's
'extimacy of distance',-- (following the rejection of Lacan's assertions as to the impossibility of
metalinguistics, or an 'irony of irony') that is, a "jousisance grounding the alterity of the other", 2
whereby the very duality of the subject's interiority and the exteriority of the Other is reified by
an ineffable signal-delay in whose interruption the 'field of discourse' incorporates the aporia as
the discursive production (in psychoanalytic terms, as the 'material transaction) of a sustained
dianoesis or 'bypassing' of the very symbolic barrier (a barrier manifesting as the noted duality
out of language's fundamental machinery) that originated the ironic decoupling of the subject
from a trauma beyond the strictures of language's own predicative-sequential mechanism,--
whose constituent members are exchanged in the dialectical occlusion of the Negative, the
profane, the transient, etc. by the metaphysics of Presence, the Sacred, the Eternal,- is utilized in
the re-conformation of a problematic epistemological gap to some higher-order symbolic code,
and the later signifying the ironic regressus of sequence at the level of the 'material event'
toward a divine perichoreia or simultaneity, and that through a 're-doubling' of language's
inherent distancing of the subject from the object of signification by way of a distancing of the
subject from the signifier, that is,- a distancing of the subject from the subject's own 'linguistic
self', fulfilling the true apocrisis of the self over and against the false 'transcendental recession of
the body' imposed, without self-consciousness, (without irony) by the invasive procedure of
Capital in autocatalyzing the utopian signifier, therefor accomplishing the fundamental reversal
across the chiasmus which de Man, in his way, goes on to describe as the perfection of irony,- "a
consciousness of madness, itself the end of all consciousness; it is a consciousness of a
non-consciousness, a reflection on madness from the inside of madness itself." What is here
implied is a recursive collapse of causality to a Schellingian tautegory,- to the hypervolution of
Mallarme's 'causal knot' or dice,- whereby the perichoreia remains internal and external to the
series of events it sets into motion,- events that cannot thereafter be anymore capitulated by a
dialectical exchange in the formalisms of the Hegelian system, whereby the 'sameness' of an
initial thetic pair must be converted into difference, only so that difference might then be further
sublated (negation of the negation) in the mad scramble toward Absolute Knowledge over a
temporal-linear progression,- an implication which also grants us a view to the "origin-less"
separation of history as distinct from the logos, out of whose 'circulus' (the imaginative-universal
underlying history, in Vico) it finds its sole point of departure in the hypnotic ellision of Nature,
an unreadability or, as Heidegger would say, a forgetfulness. The untraceable, apophatic, or in
Heideggerian terms, the 'unreadable' inscription of the regressus by a mnematically sublated
presence, identifiable in the Platonic conceptualization with the 'beyond-being' or ontos, or what
Eriugena named the super-essential cause,- a cause both conditioning the genesis of its object
while itself being modulated in turn by the ends of that object, formalizing the leptic
participation of Man in the receptive deity,- (and vice versa) generates the historical substrates
and narrative forms whereby the process of ascription in turn propagates a catenative repetition,
eg. multiple predications of a single signifier, against the imposing tide of a 'bad infinity',
inaugurating the basic iterecotic machination of the metaphysics of repetition as such, on which
account Heidegger intimates a phenomenological closure of the iteration itself (a temporal
horizon of subjectivity, Dasein) as a philosophical solution to the fatalism of dialectic. The irony
of the apocrisis however, has taken us in quite a different direction. The decoupling of the Real,
as the essence of trauma, induces a repulsion toward extrinsicity at the destabilized periphery of
the symbolic network, or what Bove calls the formation of a mere "simulacrum of the universe",
(Utopia) thereby overloading the chiasmus occupying the space between the 'abomenal' vesture
of appearance and the un-nameable origin of the trauma within the Real, that is, a perilous
duplicity in the form of Ramazani's stammered flight from the face of the 'pallid mask' or
monstrous Appearance out of fear on the one hand, and the "counter-violence" of Transcendence
on the other, which in his estimation simply recapitulates (ironically) the same fear as the basic
aporia of ethical discourse which, following Benjamin's analysis of the Trauspiel, the allegorists
attempted to overcome symbolically, (Irony intuits something about the instability of human
experience by confirming a temporality conditioned by a succession of disconnected moments,-
one after another,- a tedium vitae for which the allegorists and symbolists labored to reconnect
with some higher, more eternal 'order of things' read out from beneath the veil of Nature, whose
temporalization they read as, like all passing things, 'only a symbol',- the 'rerum enigmata
clandistina' or "perpetual circularity from the material world to God" [See Verner, The
Epistemology of the Monstrous in the Middle Ages.] educed from the metaphysical organization
of Aldhelm's enigmata, echoed in the readings of Lapidge and Rosier as well.) while the
apocrisis, by recapitulating an internal division within the subject itself, further transmutes its
own predication and achieves the kind of aesthetic sublime entirely absent from Baudelaire and
the other decadents. This is a sublimity we must obviously, following the Platonic text, connect
to the holokleros or 'whole man', as is returned to perfection in the celebration of the mystery,-
(in the Socratic encomium, the mystery of Beauty, whereby lover and non-lover, as reason and
madness, are reified by the 'wholeness' recovered as mneme) indicating that the Socratic process
of recollection involves a reintegration of the sensory and the eidetic, appearance and essence,
etc. [Note: Griswold Jr., Self-knowledge in Plato's Phaedrus. P. 111-113.] whereby dianoia
re-conforms the intellective hierarchy in a new synthetic arrangement [By the purely intellectual
hierarchy, I mean to indicate the 'serpent-circle' of the great titan Chronos,- the inculcation of a
redemptive, meaning an allegorical, configuration of the natural, ordinal, Pythagorean harmony
of the soul-universe; the tropic 'music of the spheres' as the basic melody of successive time
revered by the Pre-Socratics, as given in E. Scott, "Living with Indifference: Pythagoras,
Indifference, and the Beautiful Soul.", while by the new synthetic arrangement, following the
Platonic-Socratic distinction, I refer to the logismotic 'reckoning' of Nature vs. the more
complete dia-noetic affirmation of Nature in the image of the 'whole man' for which the
daemono-maniacal element is productively incorporated at the level of extimacy, that is, through
an 'irony of irony' consequently perfected by philosophy's 'mad wisdom' finally transubstantiated
by a Melvillean 'wise madness'. * We might here recall also, a curious distinction made in
O'Leary's "Gnostic Contagion: Robert Duncan and the Poetry of Illness" concerning the Gnostic
contagion which, springing forth from out of the body itself, as an intrinsic expression of the
organism's own reproductive drive and self-sustaining mechanisms, emerges as a 'devouring
knowledge' flowering with a voluptuous, Sparean metastasis or a certain 'cancer of poetry', as
opposed to the contagion which, imposed from the outside,- from beyond the boundary of the
organism, and borne as an 'alien spore' originated somewhere outside the body, can for that very
reason do nothing else, but carry the subject outside of his body, even into a new inhabitancy,- a
Solgerian sublation of Geist or netherworld, that is, into a 'land of ghosts',- a world of invisible,
vampiric parasites bent on starving the poet upon whom they have attended with drear muses
through a 'malady of words'.] for which the basic negativity inhabited by the trauma of a
subjectivity divided from itself is not repulsed as extrinsicity, or what Beckett named a
'non-relation', which would reify mere appearance or phenomenal reality as essence, but
sublimed internally 'sub species hyperouranias',- like those stars of Mallarme's poet,- he who,
contemplating the night sky, could not strictly determine, if the stars had been torn from his
immortal heart, or his heart from the stars, and cast upon the unobserved, fiddled campaign of
mortality against a greater cosmos. (Thus 'dia'-noia, which Socrates affirms as the 'winged mind'
of the philosopher, would indicate a circulus around precisely that- around noia, or what
Leopardi regarded as the nullified core of both temporality and consciousness itself.)
* Melville: He saw God's foot upon the treadle of the loom, and spoke it; and therefore his shipmates called him mad. So man's insanity is
heaven's sense; and wandering from all mortal reason, man comes at last to that celestial thought, which, to reason, is absurd and frantic; and
weal or woe, feels then uncompromised, indifferent as his God.



We have invoked here many archetypes, but they all mean the same thing I suppose, at least
from the contradictory perspective,- a perspective we must never ignore, for it is not altogether
untrue. My favorite of these archetypes is from Genesis. An angel is said to block the way back
to the Garden, sent by God to stop Adam and Eve from re-entering paradise. It was said to have a
sword made of fire, that spun around, floating on its head like an infernal halo,- perhaps even in
such little details, the ancients intuited still deeper knowledge,- knowledge of this empty center
and what Lacan calls the metonymy,- the endless circulation of desire around a missing object.
The same absence that the mystics, exalted in their meditative askesis, associate with their God:
a "crucifixion of Nature within ourselves", like that demanded by Fenelon; the self-mortification
of the saints; all of this, evincing the same ontological black-hole, lost object, or 'absence'. Even
metaphysics tells us the same story. The story about Samsara, the Wheel of Time, the
Recurrence; the circle of desire, the emptiness of whose center is our natural punishment,- a
karmic debt to which every soul is returned at the end of its existence until it finally recognizes
and understands it, and detaches itself therefrom,- from the cycle of birth and death and rebirth,-
finally recycled out of the process of reincarnation to go melt into nirvana and forget its
individuality. That's gnosis; sacred knowledge; to understand it, to pierce the veil of Time and
Matter, to be set free by what the Areopagite called, in his theological tracts, the
pneuma-spermatikos,- to become a bearer of light, the exalted mind, the 'mens heroica' of
Bruno's texts. Death won't set you free, quite the opposite; Death just draws a border around
you,- it marks off the shape of your life from mine and his shape from everyone else's, and hers
from hers,-- it just distinguishes you from me, everyone from everyone. But then I recall Goethe,
who sung the opposite... The angels were explaining themselves, in Faust. They said, "Inherent
in us there still remains, the smallest fragment of earthly nature, so painful to endure. Our being,
even if it were purified by Death, or formed from supple alba, or drew into itself with the mind's
invincible force the ultimate elements- no angel may, or ever could, dissever them, the
intermeshed, or differentiate the incomprehensible dyad of self and self, god and man, supernal
and earthly, light and dark. It were beyond us to draw the border of things, and only Eternal Love
has the Power to truly separate, to distinguish things..." So it is Love after all, that draws the
border around your life, and not Death ... Eternal Love,- and only at that border can we find our
shape, beneath our human mask, and actually know who we are. That is why they always painted
the angels on billowing clouds, the symbol of the ethereal substance of pre-creation; smoke, God
moving on the face of the waters,- God moving through the spaces between the worlds. The
angels, wreathed with this flowing, smoke-like energy, still phase in and out of existence, melt
into one another, are from the highest vantage still indistinguishable,- not yet stable, not yet
'separated',- a quantum informational state not yet made readable by the collapsing wave-form.
This mystery,- the mystery of separation and individuality, of the true face of man and the human
mask, is the one about which I have been speaking.

Man must avoid attaching his soul to passing things, yet only by an opening up of the Stoical
anima to the passing of the moment can man distinguish the one thing from another- the resilient
from the fleeting, the virtuous from the vain, bearing that 'earthly fragment' of Goethe's angels in
chaos eadem cernentibus omnibus ipsa, quos privant oculis tempus in omne suis; or, as Pindar
said to similar effect, so do we read the shape of our life by shadows, or even the shadow of a
dream, for desire is the memory of desire's every defeat, and love is the memory of all that love
has lost and failed to gain, in utilius cunctis animum tenuisse refertum vanitas fugiens. [Petrus
Cordinus, Collatio Saporum, ex Sophoclaeum: Utilius cunctis animum tenuisse refertum: cum
visio sint haec & vanitas fugiens; atque chaos eadem cernentibus omnibus ipsa, quos privant
oculis tempus in omne suis.] Besides, it is more often pathos that reproves us, not reason; desire
that thwarts desire, not ethos,- non virtus, fregit voluptas; nec potuit virtus vincere, sed vitium.
[Romula non virtus, fregit Campana voluptas, nec potuit virtus vincere, sed vitium. Stephanus
Paschasius Iurisconsulti, in Iconum Poemata Liber, No. 42; ad Huraltum Chiuernium
Cancellarium.] Having earlier noted the ends of human nature, as necessarily beyond the ends of
the ancient Cynical estimation of the "fragilius terra fabricatio", or the infirmity of Natural
generation, it were still a faith borne in frustraque sibi arrodat ungues, qui non sit a naturam ad
Poesin; [Nature thwarts the tongue of the poet who would defy her. Phillipus Brietius
Abbavillaeus, in: Poetis Syntagma; refer to the preface to the fragmentary Roman poets.
Quanquam etiam divinus ille furor a Deo tantum concedatur nonnullis; frustraque sibi arrodat
ungues, qui non sit a naturam factum ad Poesin; nihilominus innata vis illa imitatione multum
perficitur, & magnum hactenus momentum attulit carmina tentantibus, legisse carmina.] it were
only a glimmering of the 'World-Soul' and that fatal impulse, "which needs must work out its
own salvation within the heart of the individual",- athanaton in omnis anima est immortalis
adsequatur perfecta Timaeum,- [Res una quaeque, sive per naturam, sive per rationem agat,
bonum & finem intendit; &, si bonum & finem adsequatur, perfecta; sin vero eo excidat, misera
est, & infelix. Cum itaque homo anima sit praeditus rationali, quae immateria, indissolubilis, &
immortalis est; huic quoque; tale bonum conveniet, quod mensuram & durationem corporis
excedat, & cum ipsa immortali anima, post discessum a corpore, perennet. Christfidi
Saggitarius, in: Otium Jenenses Commentationum Philologicarum & Philosophicarum; Dis.
Secunda; Gnostos, ΤΟ ΓΝΩΕΤΟΝ ΤΟ ΤΗΕΟΝ; Notitia Dei, Anteloquium.] nor mourned with
wisdom's 'prudent terrors' di questa morte delle idee piu sublimi, [The 'small death' of sublime
ideas. Del pensier dello schiavo; io frenar deggio l impeto dell etade, ed insegnargli i prudenti
terrori, e dirgli: e chiusa ogni splendida via; languidi, oscuri passeranno i tuoi giorni, e questa
morte delle idee piu sublimi, ordin si chiama. Time breedeth slaves of all, checks the gamble of
ambition and teacheth better still, the prudent terrors of age; every splendid way is closed;
languid, the tired artist will number his days in darkness, and only he is left to mourn the death of
man's sublimest thoughts. Foscarinus, in: Tragedia Scelte ed Altre Rime di Giovambatista
Niccolini.] a knowledge gambled ex Pieriis auctor amoris vatibus iuventates [It were an ill
omen, that a youth should excel in writing poetry, most of all in the service of Amore; let him
take heed. Heu periit latia quod erat periit decus omne iuventate simul humani delitiae generis.
Denique Pieriis si quis fuit auctor amoris vatibus, huic puero cederet. Dedicatio Alexandri
Cinnuttius Senensis, Poetarum Foeliciter Incipiunt. Corollary to this, one might add that the heart
is tested ex amor major in unicum,- by possession, not temptation. Insofar as the youth does not
possess even himself, it were hardly worthy of dispute, as to the measure of his heart in
possession of another. Out of Iudicellus Rouyant, Odes: amor major in unicum qui cum dona suo
plurima divites omnes ferre duci cerneret, et nihil praeter pauperiem posset ei suam offerre, in
manibus detulit optimam illi fontis aquam castalii suis.] upon the immortal soul with the
emphemeron and blade of grass, in turpitudinem malam esse docuit,- [Man does not naturally
fear death, but that he is taught to. Micraelius, in: Ethnophronius Tribus Dialogorum, Liber
Primus; de Animae Humanae Immortalitate. (To the same point, note also: "Piae & Sanae
mentes haec ingenia beneficia Dei, propter maximas utilitates in vita humano generi concessa,
agnoscunt & magnificiunt, ac auribus ipsis atque; animus abhorrent ab illis insulsis & Epicureis
vulgi clamoribus." Epistola Ioachimi Helleri Leucopetraeus in Albohali.) As to the 'neglectful
death' of greater things: hic si paulo longius vitam extenderit, quoque, extendet? Properat cursu
vita citato, volucrique; die rota praecipus vertitur anni. Et quemadmodum animalculum
quoddam, ephemeron vel hemerobion dictu, juxta bosporum nasci vidistis, cujus vita uni dici
termino includitur, cum mane nascatur & sit infans, meridie vigeat & juventutem teneat, vesperi
senescat vivendique; ita quoque; si cuncta gauda nostra, vel voluptates, & quaecumque; ex haec
universitate mundi vel sollicitatum adspectu, vel bladiuntur usu diligeter excutias, tota civita
hominis un est dies. Ibid.] or better, upon the strength of a single thread, though it were a thread
that measured all the world in uno peccato longam telam texere, ex fracti magnitudine mali,
prorsus deficiunt a virtute, [Ita hostis Dei & generis humani, novit ex uno peccato longam telam
texere. It were a web that covers all the world, though it were threaded by a single sin. Fracti
magnitudine mali, prorsus deficiunt a virtute. Sorrow is a deficiency of virtue, portioned to our
dispensation from the fates: in res longe fortuna regressus est. (Res longe fortuna regressa est.
In: Mylonymus Evirenaeus Coloniensis; Carmen Heroicum Permissu Divino sit Licitum.) Of
Youth: Iuuentus adhuc ignara vitae, imaginatur homines nasci ad delitias, & fruendas
voluptates, & has ociosis animis expetit et querit, sed senes, qui degustarunt communes miserias,
longa aliter iudicant, ac intelligunt, hanc vitam universam, plenam esse aerumnarum. For these
three paraphrases, refer to Ioannis Pollicarius, in: de Fugacitate, Miseriae, et Inconstantia Vitae,
et Omnium Rerum Humanarum Zachariae Vicentini Liliae; et Contra Sylva Quaedam
Consolationum Philosophicarum.] or no less faithfully in any case, than is the total existence of
our terrestrial inhabitation measured by its first moment, for it were a cosmos that shall live for
no greater a span of time than was the Apple of Knowledge chewed in the mouths of those first
of our race, who declined higher stewardship over the Garden paradisaical. [As to this
remarkable figuration concerning the Garden, note Lancelot Andrewes, in: Apospasmatia Sacra,
P. 196. "To conclude, we see into what misery man is fallen for a little vain pleasure of sin,
which lasted but the space while the apple was chewed in their (Adam and Eve) mouths ..."]

[Parodites]

PART III

----
(On the Notion of Free-Mimesis, pulled from a different area in one of my books. Some really dope-ass stuff in this, related to the original schizopost.)

The developing 'ecotic network' undergirding the libidinal economy is grounded in what Rene Girard called "mimetic desire", wherein our
neighbor's desire serves as a model for our own, through which we 'learn',- that is, are normatively enculturated,- to participate in an 'energetic
field of associable drives', as the Lacanian school formulates the initial stages of corporeal re-composition through the four discourses. The
mechanisms behind this association, however, are not firmly regulated by any evaluative criterion besides that produced tautologically
(tautegorically) out of its own 'syntaxis'. (Constituting a metalepsis, topologically analyzed in terms of a horizontal plane.) This associability
stabilizes a chiasmus, like that articulated in the Platonic account, wherein eros (desire) serves as a metaxy, [It is important to note here that the
Platonic metaxy does not yet achieve verticality, and must therefor be continually sustained by the eroto-daemonic circulus of the Socratic
dianoia, through which the vertical element is precipitated in materia,- the 'simpliciter omnem rationalem substantiam',- (The commentaries on
Aristotelian psychology and metaphysics, mainly those on the de Anima within the pseudo-Philoponus collection, elaborate a critique in terms of
an active intellect that separates perception from the sensory domain of the objects of perception, thereby reproducing a form of knowledge
identical to the res onta, or the 'thing',- the object of knowledge, having now been converted into an 'image' stored within the Intellect:
"Intellectum hic autem dicit Aristoteles simpliciter omnem rationalem substantiam, et hunc intellectum partem animae ait, abutens nomine. Non
enim est pars totius animae rationalis substantia : esset enim utique sic aut omnis anima immortalis aut omnis mortalis; pars enim toti est
homousion." Themestius extrapolates the koine aisthesis as a Plotinian, spiritual faculty, whereby the field of 'metaleptic discourse', containing
diffuse, disparate and even contradictory impressions, as received by the senses, is unified through the pneuma, which ascends the vertical
Hierarchy of Being, like the metaxy of Plato, toward a "Truth" perhaps even more Parmenidean in type than Platonic,- that is, an ultimate
identification of Knowledge with its Object, insofar as the philosopher is able to self-reflectively posit his own self as just such an object, whose
identification would be precisely "Truth".) and recycled, or, in Platonic language, 'reincarnated' until the mystery of the Forms is beheld, as does
the impossible union of transcendent and immanent, god and man, infinite and finite depicted in the Incarnation of the Word,- a charged
intersection indicated by the double-participation of lepsis and methexis which opens up the human limen to a "concipience" of the God-Man, ie.
a dual decipience-recipience. For more on this interpretation of Andrewes' neologism, refer to: G. Atkins, in "T.S. Eliot, Lancelot Andrewes, and
the Word; Intersections of Literature and Christianity."] or point of correspondence between the earthly domain and the Forms. ("The
vertical-daemonic element" within which eros propagates the pneumatic-seed of a new Universe,- a noesis counterbalancing the metaleptic
discourse, limited as it is to a dehierarchialized or 'unlimited' semiotic.) Desire is morally neutral of course, and self-propagates when detached
from external evaluative criterion like that of the Christian morality which, emerging from certain Platonisms, conceptualized a 'good' and a 'bad'
desire,- an agape and an eros,- whose differentiation it was the task of philosophy to navigate and firmly ground, (Note the following paper:
Miles, "Facie ad Faciem": Visuality, Desire, and the Discourse of the other. The Journal of Religion; 2007.) calling to mind the Dantean revision
of the philosopher-king, who attends by a double end, the double nature of the human being,- an anthropos whose divine nature, carefully
differentiated, demands a theogon, though whose earthly nature demands an emperor who has borne the struggle with the mighty daemon and
learned the Height of Sovereignty, having mastered the reigns of finite happiness and earthly power, as indicated in the Monarchia, that a mortal
ethos might be articulated which, curbing the excesses of the instincts, does not reduce human nature to them: [ethos anthropos daemon]
Imperatore, qui secundum philosophica genus humanum ad temporalem felicitatem dirigeret. [Dante, De Monarchia.]

Desire is modelled, not through gesture, but through language; as our language models itself after that of our neighbor's, so our desire models
itself after his desire,- a desire already distorted by the linguistic medium of the correspondence and the separation, tear, or 'symbolic gap'
intrinsic to its signifying mode, for which the immediacy of more primitive gesture is entirely lost, with the 'somatic' or integral body fragmented
by the runaway somatomimetic transfer of Robinson's evolutionary protocols. To paraphrase and re-read Armen Avanessian, in "Irony and the
Logic of Modernity", we find that the difference of pathological or "merely human madness", citing AGR, from the 'divine' madness of irony,- of
language's triumphal self-perfection, which, bearing a song like that of the mad hope or mortale pensiero animatrici of Foscolo's poetics,
"gladdens the howling desert and conquers time",- ("... il tempo con sue fredde ale vi spazza fin le rovine, le Pimplee fan lieti di lor canto i
deserti, e l' armonia vince di mille secoli il silenzio.") or the final madness completed by the severance of the inscribed Self from the ascriptive
process, lies in the madness of language's "repeated (ie. mimesis) self-reflection on its own madness",- what we here indicate as an inflationary
mimesis. Continuing from "Irony and the Logic of Modernity", we have the following: "Acknowledging its finitude, the self can laugh about
itself. Yet in doing so, it no longer laughs about itself in the service of the infinite but rather laughs against itself, so to speak,- this side of
madness." The intensifying moment of linguicity itself, as Avanessian calls it, amplifies the distancing moment of language, that is,- the distortive
mirror or profane speculum of desire, out of whose image a new desire is torn from the mire of finitude and reformulated as a monstrous parody
of the divine, of God's agape or love for man- an ultimate "irony" which, most of all, fueled the visionary ecstasies of the Gnostics. We might at
this point turn to Seneca's theory of literary decadence, wherein we are provided with a "diagnostic tool" that, by tracing the desires and the vices
within an author's character (even those of a Seneca himself) to the excesses and extremes of his linguistic appropriation and style, which Seneca
reads as psychological imprints, one might further go beyond the boundary of the text and continue tracing an inherent instability,- a
metastasizing irrationality,- emerging from out of the heart of the Word itself, whose latent bent were felt,- should it be excavated from the
'ambient' linguistic trends and signal boosted,- from individual, to society, to the structure of the cosmos itself, embedding itself within the
Proteus of matter and numbering the days even of the decaying proton. As to this re-reading of Senecan decadence, I refer to Robert John
Sklenar, in: "Plant of a Strange Vine; Oratio Corrupta and the Poetics of Senecan Tragedy". [John Langan, in "Naming the Nameless: Lovecraft's
Grammatology", presents us with a very similar model of literary decadence as an evaluative modality for language's intrinsic bent toward
destabilization and collapse, wherein we are told, succinctly, "Lovecraft's language embodies the ideas that drive its fiction."] Thus, drawing from
the work, we have the following: "The psychic disease of which licentia orationis is the symptom occurs in the environment of a diseased body
politic, the symptoms of whose illness are luxuria conviviorum vestiumque." While the kind of moral systems indicated above might temporarily
regulate the mimetic propagation of desire, "This psychic disease, moreover, is widespread and impossible to quarantine; hence, oratio corrupta
permeates all levels of society. ... Seneca's earlier statement that one must court vice in order to achieve greatness now metamorphoses into the
bold assertion that vice is itself a component of virtue. Vice enters virtue from without, hence it originates as foreign matter, but once injected it
cannot be drawn back out." This 'licentia oratio corruptis',- this haunting instability lurking at the edges of language and, invisibly, peering out of
the "glimmering of things", permeating them with a foretaste of its own immanentizing madness, is what Nathaniel Mackey calls, in
Engagements, the "creaking of the word",- [Mackey: "... the name the Dogon of West Africa give their weaving block, the base on which the
loom they weave upon sits. They call it the "creaking of the word." It is the noise (recall Kunze's "stochastic resonances or white-nose") upon
which the word is based, the discrepant foundation of all coherence and articulation, of the purchase upon the world fabrication affords.
Discrepant engagement, rather than suppressing or seeking to silence that noise, acknowledges it. In its anti-foundational acknowledgement of
founding noise, discrepant engagement sings "bass," voicing reminders of the axiomatic exclusions upon which positings of identity and meaning
depend."] serving for the basis of a "discrepant engagement" which denotes, citing Paul Naylor in "The Mired Sublime of Nathaniel Mackey's
Song of the Andoumboulou", "a theory of cross-culturality" which, like that of Benjaminian translation, "enacts one (such a theory, eg. itself) in
the structure of its definition." (Much as does the theorization of metalepsis.) Continuing from the same: "The crossing traditions of Dogon and
Western cosmologies and philosophies of language allow Mackey to present a second crossing, one in which traditions of sense and nonsense,
noise and word, encounter one and other." Working from our terms set forth here, the eventuation of a free-mimesis indicates a final victory of
noise over word, nonsense over sense, chaos over order,- of lacrima over rerum, like that prophesized by Lovecraft. One need only note the
self-reflective irony (Refer to the following paper for more on this point: Jeff Lacy & Steven J. Zani, "The Negative Mystics of the Mechanistic
Sublime: Walter Benjamin and Lovecraft's Cosmicism".) of Lovecraftian prose which, by robbing the world of meaning, forces the reader to
cling to that meaning all the more emphatically, thereby experiencing what, in theology, is known as an apocalypse, or a glimpse of the divine,
though in this case Lovecraft has displaced the Sublime from the eidetic realm, re-inscribing it as a mechanical-material process which forces the
subject (To recall the beginning of At the Mountains of Madness, "I am forced into speech ...") to re-engage with the ascriptive text
(mythologized as the Necronomicon, for example) through which he organizes his human identity, that is,- the text of human history, science, the
"facts of life", etc.

It is a curious thing, that Schlegel also found himself "forced into speech", though in his case, this was phrased as being "forced to produce irony
against one's will" by an "irony that has run wild and can't be controlled any longer", (while writing about the different levels of irony to which
the author might dare to climb, running the danger that at some point he would find himself "unable to disentangle himself from the irony
anymore", and therefor compelled ineluctably, as though by some external power, to perpetuate it mechanically, ie. by a free-mimesis.) Along
these lines, Schlegel writes incomprehensibly of the incomprehensible in his "Essay on Incomprehensibility", in which he expounds upon his
conceptualization of irony and the recursive ad infinitum of an "irony of irony". To paraphrase the contents of this text: the world's greatest truths
are quite trivial, boring, and forgettable most of all, thus nothing is more important than finding, through idealism, poetry, distortions, lies, and
ever greater paradox, (ever greater irony) ever more novel and absurd ways of expressing them, such that man does not forget these ignoble
'truths',- or simply become too disaffected to acknowledge them anymore,- upon which his life and civilization, tedious as they are, certainly
depend. It is, in other words, the incomprehensible basis of our own human nature, through which we discover the necessary parallel to World,
Truth, and God,- a profane analogia through which we might develop these absurdities, paradoxes, and artistic irony,- arriving therefor, at a new
understanding of our un-understanding, which is to say: arriving finally, at a mis-understanding (an irony) of this new understanding. (of
our un-understanding.) Thus, if the world were to ever become comprehensible fully, man would on that account cease mis-understanding
himself: he would then be completely unable to understand the world now grown incomprehensible, and would simply perish while attempting
to nourish himself with stones.

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I had a bunch of images I wanted to include, like certain logic constructs and lattices I referred to, but this website has a fucktarded image resolution limit and I'm tired of reformatting shit. Look the motherfucker up on your own if you don't know what it is; particularly, the Reiger-Nishimura lattice I talk about.

[Meno_]

Again, Parodites, the sheer genious of words emote from characters in search, in search of an author; be it through 3 or even 6 levels of more of irony, really does not depend on the identity for the author speaking to any one of the remaining characters.

It is not about any one if them, even be they dillatantes, for they try to understand as welll as the professional. They have to stand their place to quench their place, conventionally or extraordinarily.

Most , have limited apprehensions and appreciate the all that flows by, that they are able to connect with others drifting , as signifying understanding of a posteriori linkage, assuming they need it for specific practical purposes.

Most everyone is interested in trying to connect outside their particular box, and are not permitted to level off begotten essential formative structural startups, even if, so inconvdnially interrupted at one point.

The thirst keeps them on their toes for existential reasons, for giving it up, the spring of development that quenches will never let them down.

Now those who profess wisdom, as the heghest good, do not de mean a broken promise, promise cut short by referential associations, be they sport a gaping hole of inestimable value, coming up, or, by a downside of loosely associated potholes that appear more as falseleybuilt up neo positive apprIsements with the intention of a quick and final cut down severence of a head, as did in Pericles and of the presentation of St. John. the Baptist on the order given by Salome's father, King.

You're right, there are no quitters here, who may profess that against which binds them existentially.

Sure, even those whose professions coincide with what they profess, must stand their place, it goes to argue that even they must expect those with less to do with more, in recognizing a difference between an expected defense, for the sake of argument, or that altruistic need to subject themselves to the slavery of those to whom they are deeply and necessarily committed to.

Such commitment , if the result of which becomes predictibly a literal nest of cookoos, it is again a tie into very familial bounderies augmented to too familiar themes.

The whole reason of loving something or, somebody totally altruistically, is, you thing a vital nerve from which no retraction is possible. This who are afraid of the love of real commitment to some objective reference are not meant for a longed standing relationship then a one night stand.

For those kind of souls, longer term is not merely nonsensical , but definitely abraisive. But swallowing that, life and lives go on, and even a man with a rose in his mouth has to keep on , to follow the fullness of his heart, with the least effective tools available.

If philosophically a marginal figure, he should still have the liscence therewith to command expression, even to the point of derailing bounderies, at least momentarily into the realm of the absurd and the ridiculous..

These principles have creedence and precedent, epochs pass, and fashions upend them, with the hope they someday be revived.

As to some of Your summa materia, perhaps later referral be alluded to, in good faith and cheer again we must part fir here in sunny California it's 20 minutes to midnight.

Be of good cheer, Brother, and wish us all luck in this time of turmoil.

[Meno_]

Now I read Your fine composition the second time and feel funny in trivilializung such , and admittedly can only say that You are right in the origin of the paradoxical evolution of Romanticusm, evolving all the way from ancient Greek times, the home of the ideal dialectical 'truth' of beauty- all the way to German idealism.

But just as true in the holding of a sustaining effirt, right behind Goethe, who reified the art form


I can not be the judge , after all, whether it be a paradoxical oddity , since , it is truly am aesthetic art form re ol ing around the universal principle which requires an 'ought' rather then an 'is' of naturalism over the romantic idiom.

How much more poverty stricken would have we become if such romantics, who usually lived a life of austerity, provided civilization with the absence of aspirations to live by, as exemplified with the battle cry' art for art's sake', even if, the could foresee the sorry debacle that would eventually forfeit anh right in the pursuance of the Romantic idiom?

Fod even now, there are vestiges of faint glis of afterthought which bemoan the passing of the 'Twilight of the Gods"?

I not really putting that in a subjective call for reasdurance, but posing it as a general escathological problem for Civilization per se.

Romanticism may parallel the higher ideal that at a certain period Man aspired toward, and that German intellectuals of the late 18th to 19th century emulated, even to the point of a Germanic homoerotic revival of idealitry.

If You take Jung's characterization of Freudian preoccupation with erotic themes, sure one could find objectionable nicks in it, but to bassos down idealism to an effort to a new homo revival, ultimately misses the point.

[Parodites]

The masses fear to engage with me, especially with my Texts. I suppose it is natural, since most philosophize as a hobby. Well, I don't have hobbies, and this is what you get when you bet everything on it. When you bet everything, on your art; when you bet your entire life on your work. After all, if I did not write, if I was not a philosopher,- I would be dead. Even with philosophy, I am only hanging on by a thread. I start drinking at 5:00 AM. And that is only because it takes an hour or two to get all the opiates and barbituates down. It's a lot of pills. You gotta learn how to vomit into your mouth without opening, and just keep re-swallowing until the spasms stop. Otherwise I'd be drinking at 3 or 4 AM. And I go to bed in the AM too. I mean, I lay down in the AM, as I don't sleep. I smoke three or four packs a day. I even tear the filters off the cigarettes. I've got bad teeth, bad lungs, a bad liver, bad pretty-much-all-of-my-internal-organs because I stopped eating a long time ago and weigh 97 pounds. Bread and yogurt is all I can stomach without throwing up. Writing's all I've got. My texts ARE me. This... broken thing, that my mind lives in. This skeleton; it isn't me. And I am not expressing this for pity. I'm only saying this shit because I'm drunker and more stoned on pills than usual. Pity? I despise the feeling that pity gives me. Everyone that looks at me pities me, except the one person I ever fell in love with; Sarah Guerin. The rest of you can go fuck yourselves to death. And I think I fell in love with her precisely because she never pitied me; not even once... not even once, did she pity me. Do you understand what that means to someone like me? She didn't pity... she didn't pity me... I can feel peoples' pity like... like worms crawling on my skin. Like ants, like filth, like... Like, I don't know, I just want to get it off of me. And I know that the pity they give me is... pity, for themselves. For their own wasted lives. For their own... For their not being anything. And that makes it even more disgusting. That's mostly why I haven't left this house I am in for the last 16 years now; Welcome, 2021. And I don't intend to leave it in my lifetime. I don't want to see the world again. I didn't even want to see it as a child, I just was forced to, until I turned 15 and had the legal grounds to drop out of high school. All of you can enjoy your little world without me. When I die, I will leave this room finally. Only then. When I die, they will discover me by the smell, and they will discover my work. 10 volumes of philosophy, more than 100 five-hundred-page volumes of sheet music. All together, nearly 200 five-hundred-page volumes. 200 books. That's me. Fuck this body and every other body and the God that turned me into a body. When I die, I will be glad to leave it behind. Until then, let's ask history who is worthy of pity: me or everyone else. I'll listen to history, after I'm dead; 200 years after I'm gone, let's see. Let's see whose voice fucking remains on this earth. Let's see which of you fucking people are remembered. Because I'll bet you every piece of fucking 'matter' I own that it's not going to be you.

[Ecmandu]

You need to get out more.

I’m kidding of course.

Thing about life is: without a plan to send every being to heaven forever, there is no hope, and suicide always wins.

[Parodites]

I meant to add: if you find difficulty in looking up certain references, like the epistle of Hellerus Leucopetraeus on the Albohali-corpus, or Cordinus, or I don't know, Micraelius in the Ethnophronius dialogues, or any of the 1,000 other references: that's because they've never been translated out of Latin. Most of those texts have never even been physically typed on a keyboard before. So they are entirely outside the reach of Google. Even the NAMES of some authors and works are so obscure that Google returns no results. There's literally no way to find them. The only reason I know them is because I've plundered university servers, imaged library collections, followed research trails through other authors and various biblotheca, and gone through the digitized library collections of various institutions all across the world, and personally read... all of it... I even found undocumented texts; Petrarch poems that aren't recorded as existing anywhere... Copies of the lost works of the Gnostic mystic-sage Apollonius of Tyana, in Latin translation by one "Hinaxius". The extent of my originality is only equaled by the extent of my knowledge. One might ask themselves: how is this possible? Well, it's possible because only about 100 people speak these dead fucking languages now and there's a bunch of shit just sitting around in libraries that nobody's ever bothered typing, let alone translating: it's a billion times too much for those 100 people to go through, let alone translate. The amount of authors and works you can find through google vs. the amount that exists is, and I'm not exaggerating: 1 to 1000. The Vatican Archives ALONE (and they're digitizing their collections too recently; it's simply impossible to manually type all of the literature) contain more unknown authors and works than the number of works that have been "preserved", eg. the Virgils and Homers, etc. That's another literary goal of mine: to intimate to everyone, how much knowledge is actually... lost. You ever read the astrological treatises of Behensatricus? The philosophical tomes of Verulaeus Oppinus? Have you ever heard the names? Can you even google those names and get a return? Being an immortal writer myself is just one of my goals: the other, is being the man in possession of more knowledge... than any other man on the face of this earth. From the most recent publications, to the oldest, from Heyting algebra to Gnostic mysticism: I know, quite simply- everything.

And, like Faust, I paid the price for it too.

[Parodites]

It is worth noting that I owe my superhuman Knowledge, (I don't mean to brag, but honestly.) in part, to what they call the "Ars Memoriae", or the art of memory. For that is precisely the goal of the ars memoriae- superhuman feats of knowledge, which I'm not the only person to achieve, and which could yet be achieved by others- if this art was resurrected in its original, lost form. Particularly, in my own practice, I drew heavily from Giordano Bruno's contributions to the art, both in terms of his theory and techniques. Ramon Lull as well- his combinatory diagrams and philosophical 'metalanguage' were very useful to me. Johann Hamann as well, taught me a great deal with his technique of "metaschematism", whereby disparate mythological types are juxtaposed with Christian theology, so as to reveal the kind of "secret" connections I will talk about momentarily. (Like Hamann's gender-swapping metaschematism involving the goddess Selene watching over a sleeping Endymion, who she loved, being juxtaposed with God watching over a sleeping Adam while he extracts a rib with which to form Eve, that Adam's loneliness might be lenified.) From the first: the ars in 'ars memoriae' indicates a kind of praxis, that is, something actively engaged in,- not a passive faculty, as we tend to think of memory. The dividing line between conscious and unconscious, thought and memory and dreaming, etc. etc. was far more nebulous a thing in centuries past. The memory techniques represented by the more general "ars memoriae" are not merely about memorizing massive amounts of information, or helping you to memorize something really quickly- that is mundane. To see this whole, very rich chapter in the 'Life of the Mind', the ars, turned into some kind of parlor trick in popular media, or tools merely useful for helping a student prep for their test more efficiently ... disgusts me.

These techniques are about,- not merely storing the information in memory,- but storing that massive amount of information inside of your 'active memory', whereas most people don't really... have an active memory. They have a passive memory. Things just sit around in there without any organization or purpose, collecting dust and cobwebs, and then when someone needs something, they go rummaging around and hope to find it by chance in there. Well, the Renaissance authors who obsessed about this memory stuff and even connected it to various magick systems, religion, and the occult, understood that it didn't have to be that way. One can form a memory-palace, one can learn to control their memory and the otherwise unconscious power whereby hidden (occult) connections within information become visible. That is what they meant by the term "memory palace." In other words: these memory-techniques, or mnemonic devices, serve two functions, and they serve these functions with equal deliberation on the part of their creators; 1) storing large amounts of information in your memory, yes, but also, 2) a more artistic function- even a magickal or religious function. The techniques work as an artistic praxis, as a kind of poetical meditation designed to imprint things within active-memory; they are techniques built around the intention of guiding your own thoughts in such a way that previously hidden connections within all that information you memorized become suddenly visible, as epiphanies. They are techniques related to intentionally (and thus controllably) causing those "bursts of creativity" that people talk about, "inspiration", etc.

The ultimate goal of this 'ars memoriae' is to exist in a perpetual state of inspiration, to possess a memory that has been entirely converted from the passive to the active state. The creation of a memory-palace is equivalent to, in the 'ars alchemiae' or alchemy, the creation of the formative vestibule, in which the alchemist performs his work in the effort to produce the philosopher's stone and elixir of life,- for this alchemical vestibule represents the psychological vestibule in which the unconscious mind is fomented, and from which there is later extracted the Jungian 'new man', re-connected with his shadow through an enantiodrome. At any rate, those inspired states or "moments of inspiration" people talk about are associated in the popular mind with the unconscious, and that is fitting, for these memory devices essentially work, as I have said, to bridge the worlds of one's unconscious and conscious mind. When you get into the really advanced stuff, you have entire mnemonic systems set up around the goal of imprinting actual structures,- mechanisms within your active memory, (a zairja, as the Arabic sages called it) or in the Kabbalistic applications of it: (a lot of the Renaissance writers who utilized memory techniques of this sort, applied it to Kabbalah) you use the sephirotic diagram to memorize God's virtues and creative process and imprint them as an actual living, breathing structure within your active memory until the epiphanic flash of inspiration comes, whereby the unfathomable, endless and secret connections between all of God's virtues reveal themselves to you, animating your consciousness with the 'singulare ineffabilis', with a limitless knowledge- in this case, constituting far more than a simple moment of inspiration; rather, an apotheosis, gnosis, enlightenment, etc.

[phoneutria]

you're like turd minus the sense of humor

[iambiguous]

We'll need a context of course. And, no, not just abortion.

[Meno_]

Wer'e all weary of reel philosophy.

[Parodites]

Phoneutria, you're female, so nothing about your concept of 'humor' actually matters to anyone, as personally- I find plenty of humor in your obvious need to insert yourself into this thread, where you very clearly do not belong. Go grow a cock and a sense of self or otherwise, shut the fuck up. Besides, like you said, I'm a big bad cyberbully for calling a guy a "dingus" and should be banned, in toto, off the internet. As long as that "fact" is out in the open, I don't see any reason to hold back. So I guess I'll take a good 2 minutes out of my morning, during which I should be fucking enjoying my high, to cyberbully you; you and every-fucking-one else. Let's get started, how about it?

All of that free knowledge I conferred throughout this thread, torn out of the bottomless depths of the "beyond google's reach" materials I related, at no small cost to myself- mere names even beyond the reach of your little Google algorithm,- but 'wah' it makes me feel bad by drawing attention to how little I know about the world,- about anything, so fuck you and fuck it! No, how about this: how about fuck you. How about fuck you Phoneutria and fuck everyone else? How about that? That sound good? Because I don't have time for this or for any of you. I'm supposed to be vibing right now, this is my last bottle of Jameson. You fucking motherfuckers are wasting my buzz. Three people's comments, and not one of them even means anything. Apparently you don't need me to teach you Latin or Greek or Hebrew, you need me to teach you fucking ENGLISH because you quite clearly don't know how to fucking USE IT. You can't even make sense. You know what? I have grown weary of this. Of comparing myself to you. Not that I ever did; I'd rather fucking shoot myself in the face. None of you know anything. None of you are anything. None of you have the capacity to even engage me... let alone challenge or argue me on the subject of, well, anything... in terms of either any point I made or my character. What the fuck do you actually know? What are we going to "discuss"; what are you going to have an argument with me about? You don't... you don't fucking actually know anything dude. But I'll let you know something right now. You know why I drink a liter of whiskey a day, pop 30-50 vicodin and eat barbs until I can't move? Because even after all of that you people still don't challenge me. Because 9/10thns of my fucking brain and nervous system shut down and you still got nothing for me. Because fuck this. Not one of you can say something that I haven't heard before. That I haven't heard 1,000 times before. I get sick of hearing it. I get sick of listening to you, your little words and your little lives. The name behind those little words stopped mattering to me a long time ago; it's all the same. I'll just name you all Bob. Bob the Fuckface fucking Retard. There ya' go. Because not one of you can formulate an idea I haven't already seen 1,000 times in all the literary vastitudes I have assimilated. And no point I would raise will be comprehensible to you by more than anything other than your fear of me. Because what if what I am talking about is true? What if none of you... have even learned how to use your own "memories", let alone "think"? What then? I am asking you a question and I know, at the very least, you can understand this question, even if you can't understand anything else: SO, What then? I'll answer for you: fuck this, is 'what then?' That is why I long ago reserved myself to history. History will tell us who mattered, and like I said a few messages ago, let's bet on which of you fucking piss-ant losers get remembered. I'm sick of talking to you. I'm sick of listening to you. I'm sick of being let down by the irrationality, psychological projections, and fucking pathetic failures of you people, especially those I called friends. Get the fuck out of this thread if all you're going to do is clutter it with retard comments, because to be honest with you, I don't even want to be associated with fucking retards. Let all of you know-nothings, are-nothings, be-nothings die. Let you die and evaporate like dew on this little window I greet the world through every morning. 120 MG of Vicodin, (that's 12 pills for you fucking straight-edge faggots) a handful of barbituates, about half a liter of rum and 7 shots of my trusty Jameson into the day, and it's only 7 Am... and you know what I think? You know what I think of you after all that? I don't think anything. Not of you. Dante's Monarchia, however, I do think of. With that in mind:

(referring to my original citation of the Monarchia) // We find this "duo ultimo hominis" continually defended by Dante, from his theological, to his political, to his poetic texts, as an "aporetic ground" through which an indeterminate interim between the consummation of earthly and divine authority is described through the memory of the 'terrestrial paradise', per paradisum terrestrem figuratur, [J. Aleksander, The Aporetic Ground of Revelation's Authority in the Divine Comedy and Dante's Demarcation and Defense of Philosophical Authority.] "stressing the nature and function of each alike as a moment of reconfigured consciousness preliminary to the soul’s entry into the immediate presence of God, and in that of Inferno xxix by way of precisely the opposite, of the soul’s captivity ..." [Vertical Readings in Dante's Comedy; Vol. 3; John Took, in: Truth, Untruth, and the Moment of Indwelling.] such that "the horizontality of human experience, its unfolding sequentially or in terms of the before and after of its key components, (a la. 'predicative logic') is resolved in terms of its verticality, of the height and depth of that experience". [Ibid.] //


(By the way, "Ibid" is this really awesome encyclopedia guise. I highly recommend it if you don't have the time to read anything else! )
-----------------

(referring to my OP beginning with: "It were an ill omen, that a youth should excel in writing poetry, most of all in the service of Amore ..."

//
Do not taste of Love's nectar too soon, for love does not so much deceive us as we deceive ourselves, and having never learned to make of ourselves a brilliant flame in which to stoke the bitter almond, that it be sweetened thereon, so do we at last grow mute upon the faith that no bitterness shall follow the first of her fruit,- having developed such a faith as children,- or otherwise spoil an heavenly ambrosia. Or, in that phrase from out of the poetickal suspirations: (Suspinele Primaverei, Prelude: Nicolae Pruncu de Focsiani; 1868.) "la amor la amicie in vercic d'acum sufletu' mi e mutu caci de linar, si amarul si nectarul amorului, am gustatu si credind in amicie din pruncie am fost vecinicu inselato". It were a deception the poet would spend his entire life contemplating; an obscure longing,-- after Emerson's essay on the shortcomings of the Byronic conscience, (and the fetishization of pain, or knowledge's dismal Prometheia and the 'secret truths' of sorrow,- of all such beings wrought in that fiery element of the Titan which so eluded the reach of Empedocles his philosophy, so commonly found among the Romantics) as is shared, he believed, by all artists,-- namely a desire to somehow touch reality, to make contact with things and, even if only through pain, or the pall of Death communicated to our final extremity, to see through the 'inima tesauru d iludii' [a heart full of illusions; ibid. "O inima tesauru d iludii si d amora adesu in rugaciune eu cerului voiu cere sa poti sa vedi amorulu ce ai pus in al meu sinu sa vedi in departare cumplita mea durere sa vedi cu cite lacrime eu numele u ingiu."] of his charge, and to,- for that obturancy however briefly surceased,- see beyond the tears 'quam exigua scintillulae' [Quam exigua scintillulae in solis splendore lux; picking the stars out of the light of the sun. Theophile Spizelius, in: Nuncupatoria Epistola Arcana Retecta Theologicorum. Spem in homine neutiquam locandam; (There is hope for man, to be sure, but it is not to be found in man.) talem esse, qualis exigua scintillulae lux, si cum solis copiosissimo splendore componatur; (much as the luminous soul of the Sun is not to be found in the stars) ex Martinus Fogeliae: in utroque nostrum nonnisi una videbatur esse Anima, duo animans corpora, unus & idem amborum scopus erat Virtutem exercere, & vitae nostrae studia ac proposita futuris bonis applicare.) ] with which he names his love 'in solis splendore lux', that should his many names for it be discovered to out-number his illusions, some vague truth might be recovered from his art. Each of our private universes were portioned to the same end; one man is never subjected to more torment than another, or more beauty, or more happiness, though each will take their cup according to their taste. Some are showered with all their life has of pain at once, and washed away by a single fatal storm; some are meted out despair day by day, year by year, and pull themselves along with the grasshopper, in 'works and days', knowing Vanity; some find their early triumph in youth's exuberances, and take their cup with dregs, that only bitterness were left for age, while others enjoy their lesser victories as they come, and stake their advance by careful footsteps, inch by inch. We all were given the same pain, the same happiness, the same beauty; it were unalterable a proportion, and differs only by mensuration. Thus, no artist would conclude that the world is lacking in Beauty and in beautiful things. It is only a matter of convincing others to look where we have looked, to which end we recite the names of our house gods, our sole pantheon and commanding genii,- given the fact that man will not cherish a thing until he has learned its name, nor think to look for Gods not marked by stones. The task of the artist is to convince the rest of the species of a single fact: that his world, too, was beautiful, and that the beauty of his world, moreover- the beauty of his world, his love, his happiness, of which he was utterly certain, and that he felt, that he knew- was not merely eikon,- was 'real'; that it was not an illusion, or a madness, or desperation, from which he drew his fire and poison, his angels and his blood. This is the last consolation wished for,- a final reprieve from the horrible doubt for which the artist had struggled. The artist defends his world, his love, his beauty; he affirms its reality against the suspicion of mortality- that is all. Any artist who assumed for his task something less than this, or greater,- a political aim, moral education, etc.- has rebuked himself.




<!> INCIPIT ossiae:

(an addendum to "Man does not naturally fear death, but that he is taught to."):

//

"Thus, having been so taught, or brought up with this corrupta timore, one might wish to confer blame, though it were of no real account, be that blame imputed to the common 'misera ambitione laborat' of mortality, endured in morbus dat generosa morbum with the philosophers,- or perfected in acheronice gravi ex studiam virtutis by the theologues,- [Georgius Dottanius Sartoris Menigensii, in: Carmen Lysitelilogon (Λυσιτελιλογιον) de Poetices Commoditatibus Contra Sacrilogos Divini Muneris Osores. Recall the soliloquies of Lysiteles, from out of Plautus, concerning the pitfalls of Love, finally reproving us, not to simply avoid it, but to 'fear' it, in the enigmatical apothegm offered out of Goethe's Faust, which we might extend to the charm of poetry.] or still, the morbo affectum libidinem read out of the furious voluptancies of Nature, borne with the Apple of Knowledge in serpentibus perpetuo morsum, after the Poets.* [Tanaquillus Fabrius de Caen, in: Futilitate Poetices. Paraphr: Poetices morbo affectum libidinem in voluptatibus corporis immersos, (recall the Ovidian 'mortis imago' alluded to earlier) illum a serpentibus perpetuo morsum. P. 31-32. Note the similar language (to both of our previous citations) employed by Varusaeus in his Annalium Complectitur Historiam Boicum, concerning likewise, the 'separation' of the name, 'ex virtutis nomen anima aedificat': "Ejus ambitionem & habendi libidinem non nihil induxere aliqua templorum aedificia, animo tam immerso foedis corporis voluptatibus, ut non modo honestatis formam, sed etiam virtutis nomen horreret.", ie. ambition alone raises temples as much as the name of virtue raises the heart of the virtuous.] Recall that, when the Serpent managed to convince Eve to taste of Knowledge, he did not simply promise that she would not die, but that she would "not die the death of things",- the 'morte moriermini' of Origen, (translated literally, the phrase simply means "dying death") or, out of Nazianus' mystical vocabulary, the death of the 'autothanatos',- this fact generally signifying a symbolic gap intrinsic to the Word, through which another kind of death might be precipitated upon the human race, as upon all of Nature,- the 'terrestrial paradise' of which man was once spiritually injoined through the Adamic tongue,- 'in poetas antiquissimum sapientia genus philosophatos',- [Poetas, antiquissimum sapientum genus, primos omnium philosophatos esse. The first philosophers, were said to have been poets; poetry as the 'primordial' wisdom in primos omnium philosophatum. Iohann Gott. Heineccius, in: Elementa Philosophiae Rationalis et Moralis, Accessere Historia; de Philosophia Graecanica.] a Nature whose 'various language' [Bryant: "To him who in the love of Nature holds communion with her visible forms, she speaks a various language ..." A lost immediacy once enjoyed as a 'rhapsody of images', in Hamann's phrase, through which Adam had named the animals.] were torn now from him by the 'asylum ironia' of a more 'human language',- a vicious circle extended ad aeternam animae aur felicitatem, aut miseriam pertinerent confabulatum. [Neque omnes, neque omnibus in rebus decet ironia. In verba sunt, in nuga sunt ineptia. Nicolai Serrarius, in: Logi-Logia; Opusculorum Theologicorum.]



* The two works cited here, seemingly framing opposing sides of the one discussion, defend poetry against philosophy and religion, on the one hand, while the other defends philosophy and religion against the 'futilities' or "asylum ironia" of the poets. The first of the two, as quoted here, will be rendered in paraphrase: Nil genus antiquum terre titanta pubes continuo magni fulmine vieta Iovis? Monitis ceca divinis pectora format interpres vite rectios omnis abest sacra anime illuviem scelerate monstrat; et atram peste diluere qua ratione queas pectus si tumidum misera ambitione laborat instriuit exemplis qua brevis omnis honor, quam sit bono; res solicito corrupta timore sed curis humili libera vita loco ignis avaritie, si torret pectora dire quo pellas morbus dat generosa morbum, spicula capti oculis qui blanda cupidinis intus sita geris medico experiere manus absterret pene vicio formidine grandi manes quam miseri bant acheronice gravi ex studiam virtutis premia iusta.

//

[Parodites]

I may or may not have been wasted and angry just now but either way: go fuck yourself.

[Parodites]

Seriously, the more I read over it, the less I feel bad about anything I said. Fucking people piss me off. You make me nauseous. Can't even say thank you for the 100 outside-of-googles-reach authors and works I freely shared. Because to accept that free gift, you'd have to admit what I boasted: the depth of the reach of my knowledge. Can't ask me to teach you any of that spookie ars memoriae stuff, because you'd first have to admit to yourself how little you're in control of even your own memory and thoughts. And you'd sooner spite me, than better yourself- especially you, Phoneutria. Yeah, I have every right to be fucking disgusted by that. At any rate, the concept that you'd actually engage any point that I made,- any of MY text,- I understand that might have been asking a little too much, but still. Still you found a way to disappoint me, even when I expected literally nothing. Good job I guess. I'm gonna go get a load on now, (in peace) and if you feel the need to re-insert yourself and venture whatever half-assed fucking waste-of-time of a reply, go ahead. I'll sober up and get back to you. All three of you fucking motherfuckers owe me a bottle of Jameson.

[phoneutria]

lol i don't challenge you?
i wrote one sentence, dude

[Parodites]

You keep following me around every thread I post in to try and get my attention, so no you didn't write one sentence. Not that I responded to that sentence anyway, (Besides, I can write a 20 page essay as a response to anything anyone says, it's part of my "ironic" modus operandi, whereby I just hammer someone with so much text that they simply can't respond and I win the exchange by default. But that's for people I am arguing with, philosophically. That isn't what this is. This is you annoying me.) I responded to your presence in here, and the presence of everyone else who, despite being dumbfounded by the, you know, actual content of the thread, (and unable to admit they were dumbfounded or even gratefully accept knowledge freely imparted to them or ask me for the actual links to it since Google can't find it,- because it might make you feel bad to admit how little you know, and how much I do; fuck, even in my angry drunken response I pasted another text with a bunch of that material, like ten different un-google-able dudes and still, you'd sooner fucking annoy me than ask for a source) still feel the need to insert themselves into the thread, even when they- by anyone's estimation, drunk or not, have nothing to say. Did I insert too many parenthetic remarks in that for you to follow; do I need to tone it down a little again? Hold on let me pour the rest of this whiskey into my face, I'll be right with you. Fucking people annoy me this much when you're just words, imagine how I treat people in real life. It's no wonder I have to stay blitzed all god damn day long. Meno's alright but the rest of you fucking waste-of-times and, even more importantly, WASTE OF FUCKING PILLS AND JAMESON, can go fuck yourself. This is the second time I've tried to get fucked up today and you're still in here fucking annoying me. Yeah you challenged me. You challenged my too-tanked-to-keep-the-drool-in-my-mouth brain; you challenged its PATIENCE in particular.

Try venomously disarming these nuts.

I swear to God, the next thing someone says in here better fucking be interesting, funny, anything. Because if I have to come in here a third time to this fucking big wad of nothing, I'm gonna blow a gasket. And I don't have many of them left in my brain. Do you not get that, after putting all the work in to the original post, to see your little faggoty comment right below it, irritates my artistic sensitivities and pisses me off? It makes me feel gross. I don't like it. I don't want to see it there. There's nothing about anything you said that is annoying me- because you didn't say anything. Most people have a particular gift that I do not; the gift of being able to say things without actually saying anything. I hate see it there in this thread. I hate seeing it spatially connected to something I wrote. I hate that someone else, in the future, is going to look in this thread and see your faggot shit sitting around here next to mine. I'd be happy if you edited your messages out and fucked off. You don't belong in this thread Phoneutria. The bare minimum: you could have shown interest in one of the sub-topics, if not contributed to anything in the main topics. You could have said, "wow, look at all this literary material outside the reach of Google, all of this stuff that seemingly nobody knows even exists, wow! Could you share some of your sources for it with me? I'd like to engage with it personally and launch my own investigations into this lost knowledge." You'd rather just fucking annoy me. Well fucking aye Phoneutria, keep annoying me.

[phoneutria]

nobody is dumbfounded by your posts
nobody read them
because you are very insignificant

so you gotta keep coming
and telling everyone how smart you are
it's kinda sad

and i'm not following dude
i post in almost every thread
you are not important

just let that sink
get comfortable with that notion
accept it
then go enjoy your buzz
go in peace kid

[Parodites]

And to that little wad of psychological projection and nothing of a comment, I will repeat what I just said:

You don't belong in this thread Phoneutria. The bare minimum: you could have shown interest in one of the sub-topics, if not contributed to anything in the main topics. You could have said, "wow, look at all this literary material outside the reach of Google, all of this stuff that seemingly nobody knows even exists, wow! Could you share some of your sources for it with me? I'd like to engage with it personally and launch my own investigations into this lost knowledge." Well, you didn't. And that is one of my initial tests to anyone I talk to. You'd rather just fucking annoy me. Well fucking aye Phoneutria, keep annoying me. That alone means one thing, that you made no inquiry as to any of that knowledge, that wealth, that excess, that beauty: you're full of shit. Also, stop writing haikus in here, that annoys me too.

[Parodites]

And to reformulate that "test" I give people: take me out of it. I dropped 100 ancient authors whose names Google can't even find and, instead of asking me for sources so that you could look into it yourself, you feel the need to annoy me. That fact alone means this: you're a fucking loser. You're a loser, and nothing you've got to say to me is anything more than you psychologically projecting your own failures, as a human being and an "artist", on me. If someone refuses to read me, to read over this thread, and deprive themselves (again, taking ME out of the picture to make a point) of all that lost knowledge I spent years collecting and freely impart to you ungrateful fucking trolls: what does that say? Does that say something about me, or about them? For the third time then, go fuck yourself and stay the fuck out of my threads. Unless you've got an excuse for failing my little test, because I'd take great pleasure in laughing about it.

[phoneutria]

gOoGlE cAnT eVeN fInD iT

tell us about your 10-pack abs

[phoneutria]

been in a cave for 10 years
writing 10 volumes
about 10 authors
that google can't even find
while drinking 10 bottles
and taking 10 pills
and wailing on my
10-pack aaaaabs

[Parodites]

Once again, I am freely offering what I put together- what might be the greatest repository of knowledge on this earth, curated out of several hundred unindexed university servers and digitized private libraries, a secondary life's work I invested 16 years in now, and instead of asking for access to it, you'd rather annoy me. So like I said Phoneutria, honestly: what does that say about you? It says you're a fucking loser.

As to my abs: well the alcohol and drugs have taken a toll on my physique the last two years, since I can't really eat anymore, I just puke immediately afterward. But not long ago, I was quite well endowed by nature. Feast your eyes on this honey:

https://i.ibb.co/hd5542k/IMG-20191209-1 ... nnnnnn.jpg

Can you count them by yourself or do you need me to hold your hand and mock up a fucking diagram for you?

[phoneutria]

definitely i am going to speak for everyone here
and say that we need the diagram

[Parodites]

Oh wait I forgot, I think my imagebb is privated. I included the non-diagram and the diagram in here anyway so it's cool:

https://imgur.com/a/HMWkYNy