Category: Uncategorized
New American Literature
While re-reading Blake Butler’s 300,000,00, a 2014 novel boasting the best prose of the New Millennium and the lest substantial review record in memory, I came across the syllabus of what would be a year-long course in American Literature — mired among the murder of so many millions of millions.
Butler’s Syllabus is a set of references so well embedded in the elusively nauseating “plot” of the novel that I doubt any reader has even gotten to the pages 364-367 in which the references are found. And even then, the reader must wade through “jungle gym garage door flowchart bodies adhesive bandage bodies water” and “particle accelerator car audio Carl Panzram kills at least twenty-one and sodomizes at least a thousand” in order to isolate the gems.
Lucky for you, I have saved you from potentially losing your mind to Mr. Butler’s. If I may say, I understand precisely what the action and spirit of this novel recognizes (for it can only be understood intuitively and esoterically). But as for America at large, this understanding will be lost, and all of America will go down to wallow amidst the fantasy of its own misunderstanding. Let, then, this curriculum be Bulter’s final testament of writing, down the last word, in America:
Herman Melville, Moby-Dick
Gertrude Stein, The Making of Americans
William Gaddis, The Recognitions
Thomas Pynchon, Gravity’s Rainbow
Cormac McCarthy, Blood Meridian
Bret Easton Ellis, American Psycho
David Foster Wallace, Infinite Jest
[bulla] Hymn of Commencing the Judgement
by Sesh Antara
1 Come forth from the Water and bear up this God
2 Like as Atum raised himself upon the Ka of Nu
3 By the grace of Ma’at, giving Order to Chaos,
4 Being as he was directed by Djhwty to born
5 The 9 Gods. O Atum, first in the Company of Amun,
6 Gave thou to thy Son a Space; Gave thou to thy
7 Daughter weight; Geb and Nut come forth and mate;
8 Their two twins dual and create.
09 O you Gods who are in the Bark with Ra,
10 O you Gods who are in the Company of the Judge,
11 O you Defendant who cometh before them:
12 Know them in the Order which they are gotten
13 To know that which is spoken truly under the Law:
14 To balance all forces in their dual Nature
15 By measuring their weight against the Light
16 And return equilibrium to scale
17 In the Hall of the Double Truths
18 Before the Seat of Judgement.
19 How is it done, the measurement
20 Of the weight of one’s Ka against the Light
21 Which is that constant Truth
22 O’er which thy Ba doth witness
23 The flux of the Scale,
24 Whether the Plumb condemns or vindicates
25 The Defendant as recorded in the presence of Wasar.
26 Know that this method be practicable
27 For making the Heart like a feather
28 And for doing Ma’at while on Earth
29 To make for thee thy conscience glad
30 And to make the Ruler to vindicate thy voice before the Sovereign Judge.
31 Concentrate, observe, and quantify thy measures;
32 Record and fix the weight;
33 Rebalance, recalibrate, and correct thy state
34 Of conduct, using the line of the Scale’s equilibrium
35 Whereon their weight hath been measured.
36 Axe. Htp. Imn.
“WAKE UP, MR. WEST”: The Return of the Rap-Pagan, Part I
[Paragraphs marked * were written c. January 2014 and slightly revised]
[Note: this essay contains racial language used for socio-analytical purposes. The NS identifies only one Human race and does not discriminate or condemn any individual solely for their personal, cultural, or religious practices. The NS does not, however, condone the thematically-exploitative historical practices of certain homogenous groups.]
Hip-hop music was once the voice of the urban Afrakan of the Diaspora (Black people), spoken by poor righteous teachers to inform us of our circumstances. In the era of Rakim, Tribe, Wu-Tang, and other 5%ers, Hip-Hop preached the pagan sun-gospel and the resurrection of the black body from the Wilderness of the North American ghettos.
Hip-hop was so effective at its initial mission to “wake up” the Black people that the Powers-That-Be, who were invested in keeping the Black population ignorant and depraved, thereupon infiltrated the ranks of our culture, poisoned our message, and created the genre of “Rap.” Rap was promoted by the Powers-That-Be into becoming the dominant mode of entertainment for Black youth. As such, it has been seeded with those same vices which our old-head teachers said would keep us subservient to the system: drug abuse, misogyny, glorification of violence, and the pursuit of empty riches.
This is not the first time that the Powers-That-Be have infiltrated the ranks of natural Culture. It happened over 2000 years ago in Lower Kemet, and it has been happening for the past 1000 years all over the indigenous world. In Ancient Kemet, the Powers-That-Be [Greece, Rome, Hyksos-Semites] conquered, stole, and corrupted the pagan science of nature into the abrahamic mystery religions. Hence, without intending any anti-Semitism, it is appropriate to call the originators of modern Hip-Hop culture Rap-Pagans, and the parasitic trap-rappers and cronies of the music industry, Rap-Jews.
Kanye West, a talented young producer who appeared on the scene at the end of the 90s just as the Rap-Jews were beginning to take over, presents an interesting model of a music artist in an age where the Black consciousness is torn between cultural piety and cultural exploitation. It is as if Kanye had begun his career wanting to reclaim Kemet for his people, but he was ultimately consumed by Babylon. In Part II of this essay, we will see how Kendrick Lamar, proud King Kunta Kinte, represents the alternative, true, inner Kanye West, the Kanye who succeeded in beating the system, instead of getting beat by it.
*Mr. West’s most recent album, Yeezus, which many lament and many praise, is not all boast. I believe that Mr. West is the divine prophet of the rap music industry, the chosen son of our god Gil Scott-Heron, and he has come to die for all the sins of his fellow Rap-Jews, who are mired in the vices above described.
*We may separate Mr. West’s career into Old and New Testaments, on opposite sides of the dramatic upset in his style between Graduation and 808s and Heartbreak. Graduation having been released in September of 2007, and his mother having died in November of that year, we may credit Mr. West’s emotional shift to that event which he has said proved to yield a devastating affect in his life.
*College Dropout, Late Registration, and Graduation—the Old Testament of Kanye West—exemplify his affinity for classic soul samples, the guilt he sustained from not completing college and letting his mother down, and his struggle to find his place in the rap world.
*In the Old Testament, we find verses from Talib Kweli, Common, Mos Def (the rapper currently known as Yasiin Bey), Lupe Fiasco, and other Rap-Pagans of this era, to an extent and quality that we find lacking in the latter period of Mr. West. We find West acknowledging and often lamenting the reality that he sees his people so mired in—how the institutions of white America passed down drugs, guns, and disease to break a people intent on trying to pull themselves up (see “Crack Music”)—as well as grappling with his image and his internal struggle between desiring the flashy luxurious toys that the Rap-Jew covets and being an upstanding role model for a younger generation (i.e., providing an image of the black male that is not steeped in lust-driven, gang-oriented, rags-to-crack-to-riches ideology). This internal conflict is epitomized in College Dropout, but also well-evoked in Late Registration:
How we stop the Black Panthers?
Ronald Reagan cooked up an answer.
You hear that? What Gil Scott was “Heron”
When our heroes and heroines got hooked on heroine.
Crack raised the murder rate in D.C. and Maryland;
We invested in that, it’s like we got Merrill lynched.
And we’ve been hanging from the same tree ever since.
Sometimes I feel like music is the only medicine,
So we cook it, cut it, measure it, bag it, sell it,
The fiends cop it, nowadays they can’t tell if
That’s that good shit, we ain’t sure, man;
Put the CD on your tongue, yeah that’s pure, man.
This that crack music, nigga,
That real black music, nigga.
From the place where the father’s gone, the mothers is hardly home
And the Madigons lock us up in the Audy Home [a Chicago-area juvenile prison];
How the Mexicans say, We just tryin’ to party, holmes;
They wanna pack us all in a box like styrofoam.
Who gave Saddam anthrax?
George Bush got the answers.
Back in the hood it’s a different type of chemical–
Arm & Hammer baking soda raised their own quota
Right when our soldiers ran for the stove ’cause,
‘Cause … dreams of being Hova
Went from being a broke man to being a dopeman
To being the president, look there’s hope, man;
This that inspiration for the Moes and the Folks, man,
Shorty come and see his momma straight overdosin’
… And this is the soundtrack;
This the type of music that you make when you round that.
Our father, give us this day our daily bread,
Before the feds give us these days and take our daily bread.
See I done all this ol’ bullshit,
And to atone, I throw a lil’ somethin’ somethin’ on the pulpit.
We took that shit, measured it, and then cooked that shit,
And what we gave back was crack music.
And now we ooze it through they nooks and crannies,
So our mommas ain’t got to be their cooks and nannies,
And we gon’ repo everything they ever took from granny.
Now the former slaves trade hooks for Garmmys.
This dark diction has become America’s addiction.
Those who ain’t even black use it.
We gon’ keep baggin’ up this here crack music.
*I reproduced “Crack Music” from Late Registration here in its entirety because I think it’s the most revealing of West’s Old Testament songs. Even when he is making a song in the spirit of the Rap-Jew, elaborating upon past drug-work and showing how one made it “out the ghetto” because of that occupation, he is being pointedly ironic. He is representing this type of degenerative rap as crack in and of itself. Music that glorifies the drug-life is poison for the people who have to experience this reality every day, and yet rappers continue to glorify this occupation at the behest of parasitic music industry executives who think that this image is what will sell records. Mr. West is pointing out that the Black community’s drug problems were and are imposed upon them by the Powers-That-Be in order to break them, in the same way that “crack music” is imposed upon young Black ears in order to keep those youths in a position where they will be swiftly cast off into the prison industrial complex and be out of America’s white hair. The way in which chemical warfare was executed in the Iraq War was the same way it was executed in the urban centers of America.
*Mr. West is trying to say that being a dopeman is no longer something that Black youths in city slums have to take as their given future; they have further options, and the later election of President Barack Obama in 2008 was a well-timed reinforcement to this sentiment. Despite the ironic ending to this song, Mr. West aims to instil hope in his listeners, or at least an awareness of the system in which they find themselves at the bottom. There are other options, he says; Black youths don’t have to look up to Hova (Jay-Z) as one of their sole role models because rap and professional sports are not the only options for black youth … which brings me to my next point.
*In this era we see Mr. West revere Jay-Z as a Yahweh figure, a mentor, even though Ye laments that the superstar did not give him much of a thought during the early part of his career (exemplified in “Last Call” on College Dropout, “Diamonds from Sierra Leone” on Late Registration, and “Big Brother” on Graduation). That would change in the New Testament, however, when Mr. West would inflate his ego in order to prove himself to be a contender for Jay-Z’s throne as the Greatest Rapper on Earth Alive Today and the Greatest Of All Time (the GREAT GOAT).
*At the end of the Old Testament, we see the death of the Graduation Bear, that figure which served as a logo and branding marker for Mr. West’s early career; that image makes its last appearance on the cover of Graduation, signifying a moving-away from the college motif (i.e., the “student” persona) and a rebirth in musical spirit (i.e., the development of the “master” persona).
*808s and Heartbreak, My Beautiful Dark Twisted Fantasy, Cruel Summer and Watch the Throne (for our purposes), and Yeezus, signify the New Testament as it stands presently. [This paragraph was written prior to the release of Life of Pablo.]
*808s introduced us to the new sound of Mr. West—autotune and synthesizers as opposed to soul samples and MIDIs. This likely occurred as a result of the recent death of Mr. West’s mother and his inability to express his deepest feelings through rapping alone. Fans were, of course, skeptical at first, but whenever Mr. West sets a trend, it catches on. After its release, autotune became a staple in radio-rap music.
*My Beautiful Dark Twisted Fantasy, arguably Mr. West’s magnum opus, solidified his place as a tier-one musician—not only as a rapper—but as a bona fide composer, a musical genius of our time to rival Bob Dylan in his, and Mozart before him. But we see no more of the pagan consciousness of Mos Def and Talib Kweli. West adopts a whole new entourage—Rick Ross, Kid Cudi, Pusha T, Bon Iver, Nicki Minaj, Big Sean, old Wu-Tang members, and his idol—though not for long—Jay-Z himself.
*In MBDTF, Kanye proved himself to be the equal of Jay-Z, if it were not the case that Mr. Carter was already falling off in terms of his lyricism.
*In Watch the Throne, a War in Heaven that Milton would have applauded, Mr. West effectively toppled Jay-Z from the GREAT throne: he kills his god.
*Prior to MBDTF and into the aftermath of the battle for the Throne, Mr. West surrounded himself with a following of rappers—the G.O.O.D Music crew—as his disciples, and released countless megahits, further solidifying his position as rap’s new father figure.
*Through it all, however, Mr. West never lost the awareness of his Blackness and the role he was expected to play by white America and the parasitic Rap-Jew music industry. Although he is aware of the internal conflict, he seems at loss to correct it, to harken back to a time of Kemet, a time of Zion. He appears, in the mid-New Testament, to be consumed by and assimilated into Babylon:
Inter-century anthems based off inner-city tantrums
Based off the way we was branded,
Face it, Jerome gets more time than Brandon,
And at the airport they check all through my bags
And tell me that it’s random.
…
I treat the cash the way the government treats AIDS:
I won’t be satisfied till all my niggas get it (get it?)
…
As long as I’m in Polo smiling they think they got me,
But they’d try to crack me if they could ever see a black me.
I thought I chose a field where they couldn’t sack me
If a nigga ain’t shootin’ a jump shot runnin’ a tack meet …
(“Gorgeous”)
You know white people, get money don’t spend it,
Or maybe they: get money, buy a business;
I’d rather buy eighty gold chains and go [ignorant]!
I know Spike Lee gone kill me but let me finish …
(“Clique”)
*Finally, Mr. West reveals himself as rap’s Jesus in the album of near-the-same name, released just earlier this year [2013]. It is profound and accomplished in its lyricism, arrangement, production, and intent. The sample of Nina Simone’s “Strange Fruit” in “Blood on the Leaves” alone speaks volumes. Many have said that Mr. West simplified and vulgarized his previously-verbose lyricism on this record, but I think he is simply more controlled and as outspoken as ever:
My momma was raised in the era when
Clean water was only served to the fair of skin.
Doin’ clothes you would have thought I had help
But they wasn’t satisfied unless I picked the cotton myself.
You see it’s broke-nigga racism, that’s that “Don’t touch anything in the store”
And it’s rich-nigga racism, that’s that “Come in please buy more.”
What’you want, a Bentley? Fur coat? A diamond ring?
All you black want all the same things.
(“New Slaves”)
*If these are not the sentiments, the biting satire and scathing truths, of a deeply-conflicted and internally split Black man, then call me Lena Dunham. Because Mr. West is able to express such blunt and directed remarks on a record that will reach tens of millions of American ears, we must acknowledge that he is an artist in control of the message he wishes to spread, that he is learning about himself even as he is telling us about ourselves, and that we as a country are most definitely no longer in the 20th Century.
Given the above analysis [which was written 3 years ago], it remains that during this late-New Testament period Mr. West was slowly loosing control of his Self. It seems now that the maximal inflation of West’s ego during the Yeezus era was bound to be trailed by a decline into near-insanity. Furthermore, the Rap-Jew in Mr. West seems to have gotten the best of his Rap-Pagan at this time, and whether or not the Kardashians, MK Ultra, and the Entertainment-Propaganda Industrial Complex had a whole lot to do with it is anyone’s theory. But I think that the man had simply lost his way, forgot who he was in the midst of fame, had begun praying to mystery gods, and had begun to maintain self-destructive practice.
This analysis of Kanye West illustrates two things for the purpose of our essay’s theme, the return of the Rap-Pagan. The first point is that while the Rap-Jew has reigned on the radio from ~2000AD-present, Mr. West has staged a front-guard against the forces of ignorance which seek to destroy the consciousness of the Black people. Secondly, while this may be the case, he has ultimately [at this time] failed to carry through the mission himself, and his position in the conscious Black community is nullified until he divorces Kim Kardashian.
While the Gospel of Kanye West may or may not be over and done with, the advance-guard of the Rap-Pagans may be just beginning. I tell you—when I heard Kendrick Lamar’s Section.80 in 2011, and the future King Kunta rattled off Rigamortis—I tell you—the Trumpence of Revelations sounded and I discovered that the body undergoing the rigor mortis referred to in the song’s title was the dying body of the Rap-Jew Conspiracy and the white supremacy national complex. I think that Kendrick will reclaim Kemet for the People, if they don’t do him like Pac first!
Stay tuned for the next installment to hear about the significance of staying “Humble” in:
KING KHEM: The Return of the Rap-Pagan, Part II.
Cultural Philosophy, Article 6: Cultural Empowerment
The Cultural Philosophy of the Afrakan in Ameraka
Article 6
Cultural Empowerment using Science, Technology, Engineering and Mathematics
Section 1: Cultural Memory of STEM Excellence Spurs Nation-building Among Afrakans
The concept of western Modern Science is a rhetorical fallacy. It is a methodology that produces results, not because it “discovers” them by some genius of its own, but because it is being mapped upon an already eternally-existing blueprint, or system. That system was scientifically studied, developed, and designed by our ancestors in antiquity (at least 200,000 years ago in southern-central Afraka), written beginning at the unification of Upper and Lower Kmt, and taught to the Greeks in the Temples and to the Semites in Canaan between 330BC-380AD when the Romans declared Christianity the sole official religion of the Empire, thereby outlawing the Kemetic Schools and sending the Temples into foreclosure and destruction.
The so-called scientist/philosopher Aristotle, who supposedly redacted the classical theory of “physis,” was a bandit in the raids of Alexander the Macedonian upon the Kmtic city of Re-qdt in 333AD; Aristotle claimed the Library of “Alexandria” for his School—including all of the books contained therein, which had already been written by African scientists—and proceeded to “find” and “discover” the roots of western natural science, i.e., physics.
Arabs, proceeding from this work during the dark ages of Europe, kept his “scientific method” alive until the translation of Greek works (plagiarisms of African works) in the West which led to the Italian Renaissance and the revival of learning in Europe. Thence you have the “development” of theories advanced by Leonardo Da Vinci and Johannes Kepler on the weights and measures of the planetary motions. From thence Issac Newton, “discovers” the principle of gravity (without which the concept of orbitals could not even have been postulated) ….
I will not go into a detailed account of scientific developments over these 2000 years (much research has already been conducted; see George G.M. James, J.A. West, Dr. Diop, and others); yet let it be plainly shown how the developments of western science proceed directly from exposure to Kmtic scientific knowledge gleamed by Afrakans in antiquity. Finally, to conclude this brief history, Napoleon Bonaparte entered by port of Alexandria into Ottoman Egypt and Syria with 167 scientists and scholars in 1798. They were shortly succeeded by the English in 1801. During these campaigns, an entire civilization’s scientific history and culture was unearthed and carted away to European laboratories and museums. The French occupation of Kmt in 1799, during which their express objective was to “enter the race to industrialize,” is the direct cause of the first and second Industrial Revolutions and the development of electromagnetic, general relativity, and quantum theory.
Yet what do we do presently with this information? It is one thing to know that the people who have been masquerading all this time as the arbiters of civilization have been blatantly lying, but what kind of reparative steps are we going to take as a nation to correct this wrong?
The simple and plain answer is that we are going to learn, study, research, develop, and apply the sciences and technologies which our ancestors used to construct their civilizations. How are we going to discover their true sciences, you may be wondering. Well—it is literally written on the walls!
We must shed the biases which academia has sewn in our paradigms regarding the advancement of ancient civilization. You cannot empirically call a people who habitually constructed 40-story buildings in geometrical, astrological, and geodesic alignment using 15-ton stones as “naive,” “misguided,” or “superstitious.” Likewise, an investigation of mdu-ntr scriptures will reveal that the function of these symbols are as much related to the International System of Units in electrical-engineering notation as to a simple alphabet. The effectiveness of this notation system, however, is that the signs are legible on both systemic levels depending on the adeptness of the reader. What we must all learn is how to read the mdu-ntr as a blueprint to for real, applicable scientific function.
The most evident and abundant scientific subject matter recoded in the mdu-ntr is electromagnetism. This is reasonable considering that in the Cosmology, matter comes into being first as magnetic energy which then generates and conducts electrical energy into a physical capacitor, from which transmissions of energy or information are stored in batteries or conducted through bodies. Electromagnetism also proves to be the most important science both when dealing with practical power generation (as for a house or city) and spiritual transmission (as from body to body). Therefore, electromagnetism, both as it is known in Modern Science and in Ancestral Antiquity, is the fractal root science for understanding quantum mechanics (sub-atomic), organic chemistry (atomic and crystalline), biology (molecular and compound), physics (material), astronomy (solar-systemic), and cosmology (universal-systemic). All of these frameworks describe the operation of the same system in difference scales. The function of their components and the ratio of their weights and measures within and across to one another is the same. Therefore we will investigate the symbolism and implications of electromagnetic scientific notation in mdu-ntr theory.
Section 2: Hand-held Oscillator to Become Widespread in Post-Western Society
Afrakan Tech-knowledgy to Reproduce Ankh-brand electromagnetic oscillation device
All melanin-rich people should be acclimated to the use of a handheld oscillation device called an Ankh. It will be the iPhone of the future. This device will enable the user to align and attune the frequency of their body’s magnetic field to the magnetic field of the solar-earth-system. It will do this by harnessing and transmitting radiant waveforms from the atmosphere through the body of the user. Because it operates on waves, the Ankh will also be able to receive and transmit radio waves carrying audio and visual information into the senses of the user. It will also be able to receive and store lightwaves for ambient illumination. Another name for this device may be the “Light Scepter.” In short, the Ankh is a device that registers and transforms waveform transmissions of energy or information for application using an oscillator.
The oscillator in the loop of the Ankh device will be able to harness, receive, produce, and transmit an oscillating sine- or square-wave of electricity or other waveform signal using an electric circuit located in the shaft. These oscillators will convert direct current (DC) from an ambient power supply to an alternating current (AC) signal. In the mdu-ntr scriptures, the Ankh symbols are always used to mean vitality or life, and are shown being given by the Aten capacitor Sun disk to the Neteru or from Neter to Human or Neter. This signifies that the oscillation principles which animate the Ankh are the very secrets of life itself. The sine-wave is signified by the Wedjat serpent. Thus human life may be empowered and amplified by harnessing the free-energy-generating oscillatory function of the Ankh device.
The Ankh shall be constructed using a two-way circuit made of magnetic lodestones or conductive metal. This circuit shall be housed inside of an insulatory material which will serve as a handle. The circuit will emerge from the top of the handle with the positive and negative terminals extending away from each other at 180-degrees and terminating at a crystal or metal terminal; this will form the crossbar of the Ankh. The shaft is composed of the two-way circuit medium enclosed by insulation and the crossbar is composed of the two exposed terminals of the circuit, attached to an amplification element. The circuit terminals may or may not be directly attached to the Ankh “womb” or loop. This circular loop shall be the main oscillatory component of the device. The loop may be coiled or solid metal, although a coil will be more sensitive to vibrations and will amplify the frequency. When held by the handle, the Ankh will receive ambient transmission of electromagnetic waveforms through the loop which will resonate at the given frequency, transmit the current into the positive terminal, through the handle, the user, and out the negative terminal, and back into the loop to continue the cycle. This will produce a steady current of energy which will empower and stabilize the user’s mental and physical health. The Ankh may also be placed upon a power source like one’s home Djed pillar with its circuit (extending from its base) attached to the terminal of the battery pile in order to conduct a current into the Ankh which will produce light in the loop. Different constructions of Ankhs may be designed specifically for light, radio transmission, alignment, etc.
Section 3: Melanin a Natural Semiconductor of Electrical Impulse
Lead (II) oxide, or Galena stone, is a crystal which, to my understanding, is the best and most efficient structural crystallization of the light spectrum. I have also heard of certain forms of carbon having this property. I understand that this Pb mineral occurs in the ionosphere and is one of the ways in which ionic activity is registered and stabilized on a molecular basis. I intuit that when ionization of the air in the ionosphere reaches a certain threshold of charge, the physical register of that charge may become “dense” and fall to earth along an ambient current. I intuit that this medium is lead or carbon, and is accumulated in the earth’s strata over time as galena, coal, carbon, etc. This mineral, whatever it is, is black in color, because black is the only color that can register the entire light spectrum which is being transmitted from the sun into the ionosphere. Therefore black substance, or the ionic dust of space (called by the ancients Ka), becomes lodged in the earth and makes its soil black. This same mineral also accumulates as a granule in the epidermal layer and inner organs of indigenous human beings, who are made from the earth. Therefore what is presently called the melanin granule is in fact the sediment of ionic dust which has fallen from “heaven,” and which carries the information of pure light which is transmitted by “God” (the Forces of Nature [Neteru]) into bodies. Because the granules are made by the ionization of elements in the upper atmosphere, they are directly produced by the radiation emitted by the sun and they therefore operate as semiconductors of the sun’s electromagnetic energy. As a semiconductor, this ionic dust operates as a crystalline medium through which electromagnetic energy can travel. It is this substance which the Mer pyramids will be manipulating when they acquire electrical charge from ambient space. It is this sediment of black space which lines the skin of all indigenous human beings.
The indigenous human being is effectively a semiconductor of lightwave energy. This true, original human being is a black crystal which can conduct the electromagnetic transmissions from the sun to the earth and back again, like an antennae. The substance within the true human being which allows them to do this is the black ionic substance which lines their skin and is deposited in their organs. This black substance receives information about the operation of living from the capacitor of all life in the solar system: the sun. Therefore, the true human is as much a part of their own power-transmission system as a circuit or a battery. It is for this reason that the oscillating Ankh device will align the true human user with the frequency of the earth and cosmos: because the oscillation-loop will receive the frequency being transmitted through the atmosphere, and the user, holding the loop by its handle, will conduct this frequency in their body along the conductor of their skin and organs. The frequency will register in the body and align all the melanin granules in the same direction as it is being transmitted through the organs. This will enable the human being to transmit the ambient signals directly though their body and into their minds, even without the amplification assistance of the oscillator. Yet the Ankh device will always be useful as a method for harnessing and amplifying any waveform transmission of energy. Even independently of the physio-spiritual human implications, it will at the very least prove effective as a mobile wireless light, battery, telephone, radio, radar, or fulfill any current electrical function.
Section 4: The Magneto-Electric Reactor (MER) Tower and ATEN Capacitor
(Please feel free to omit if you have no interest or background in STEM fields. The Author himself has no formal training in STEM fields, but a great interest in the intellectual relationship between traditional African cosmology and physical/energetic reality. This sub-section is an attempt to harmonize modern applied science and electrical engineering to the historical presence of ontological natural philosophy in Kmt, and the possible applications of their infrastructure. The Author strongly welcomes formal scientific criticism of these propositions. If the scientist finds that these explanations of possible Kmtic Power Systems are unfounded, false, or physically impossible, let them engage alternative hypotheses toward the realization of these functions before immediately writing off the entire science as mysticism. Simply because our modern scientific understanding may not allow the functional reality of these theories does not mean that they are in fact unreasonable or unrealizable; perhaps we need simply improve our understanding. Either way, let this paper be a playground for the critical and scientific mind.)
The following proposal uses (1) the visual systemization of mdu-ntr glyphs found in papyrus, relief, and inscription, and (2) the construction and alignment of Kmtic structures and edifices to make interpretations about electromagnetic engineering systems which may have been employed in antiquity for the purposes of clean, reusable energy for all people, and the true health and functionality of the electromagnetic fields of people, places, and relationships. Our hypothesis is that civilizations of antiquity harnessed free energy from the ambient atmosphere of the earth and employed it to empower their populations. The simplest, most abundant, and most easily accessible form of energy is an electron in motion, called electricity. This section will explore how it may be possible to harness energy from the electrons which are moving in the molecules in the air around us all the time.
The closest that western science has come to effectively applying the Kmtic Electrical Theory to their devices is in the work of Nikola Tesla. I must study more on the mechanical designs of this engineer, but from what I understand, he was able to intuit a wireless free-energy transmission system from the structure and material of Kmtic edifices. I do not have any proof of Tesla’s direct knowledge of Kmtic science, but he is quoted as saying that there is a universal source of all knowledge, and that he had not yet penetrated into it, but that he knew it existed. Whether he did, or did not, know the exact secrets of the ancients firsthand, it appears that he was attuned to the very frequency from which they received their knowledge of mechanics. Therefore, he was able to construct an electrical magnifying tower called Wardencylffe whose construction and function was identical to that of the pyramid complex at Giza.
From my understanding, the pyramids (or, meru plural of mer) have numerous functions. These functions may be classified as either Structural or Energetic, otherwise called physical and spiritual functions. An example of a structural function would be to represent true, constant Measures in its dimensions; for instance: the height of the great pyramid was originally 149.4 meters while the distance between the earth and the sun is 149.4 million kilometers, the area of its square base divided by his height is 3.14 while that same measurement is equivalent to the area of a circle divided by its diameter. Another structural function is that the Mer Menkaure, Mer Khafre, and Mer Khufu are all precisely aligned with the Constellation of Orion. This may have also influenced another of the building’s structural functions, which was to preserve the life of, or revive, the dead or dying and also to transmit their consciousness, upon physical death, to Sirius B.
An example of the energetic function of the Mer, and that which we will be focusing upon in this Plan, is its power to transmit electric current from the peak to the base and from the base to the peak. With a gold (or otherwise metallic) capstone (or benben) the Mer can harness free-energy from the ambient atmosphere in the form of electrons attracted out of their ionized molecules toward the charged metal. These electrons may be obtained from the local atmosphere, or from the ionosphere which lies far above the surface of the earth but which contains the highest electron-density of any atmospheric layer.
Tesla understood that there is a tremendous amount of radiation that is transmitted from the sun to the earth’s atmosphere, which forms ions in the atmosphere, is gathered in the ionosphere (which is the outer limit of the earth’s magnetic gravitational field), and is transmitted to the surface of the earth by natural air currents much like underwater currents. There is more than enough energy in the ionosphere to power all of the world’s electrical devices forever, thereby eliminating the “need” to burn fossil fuels or otherwise incur disproportionate waste-to-use of natural resources. This “free-energy” was the key to the Ancients’ use of electricity, and is the key to the modern world’s freedom from dirty energy. (See also Wind, Solar, and “Zero-Point” energies as methods of harnessing atmospheric/weather conditions for power.)
Therefore electricity is a state of matter as obtainable and controllable as water—if one knows the source of it and in which direction it is moving. Therefore, just as below the pyramids water was channeled and controlled as by an aquifer through a system, so above the pyramid waveform electricity is channeled and controlled by an adjustable magnetic field. As such, it can transmit low-weight waveforms of any frequency, from electrons to radio to telephone. Hence why waveform signals codifying vocal and visual communications may be transmitted from one remote tower to another in our modern day; the frequency of the tower’s receivers are aligned to one another and a current is sent between them upon which the waveform-information is carried. Tesla’s Wardenclyffe was a Mer, or modern pyramid made of steel instead of limestone. It was a magnifying transmitter tower that could accumulate charge from the static electricity of the atmosphere and transmit that electricity, as well as any wireless internet-type communication, across the earth in this manner.
The Tower, or Mer, will have its capstone or peak in the ionized air which, by way of its movement, will act as a conductor of electromagnetic waveform signals. The dense air below may act as an insulator, while the earth below that may act as another conductor. These Mer-towers may be placed in strategic locations upon the earth to create a vector equilibrium in which the power being transmitted through the system might stabilize itself in a crystalline form across the earth, neither diminishing nor exceeding.
We must study the nature of the Aten disk, or Sun, as a “power generator” for the earth, or, more accurately, as a capacitor used for storing electrical energy within the electromagnetic field of the solar system. It seems to my understanding that there is no power generator in the universe, since the amount of energy therein is controlled and fixed, differing only by ratio across contiguous magnetic fields. Therefore, it seem reasonable that power generation is only an appearance that results from activating or releasing power from another source in which the power was either inert or being temporarily stored (as in coal). The power needed to release the target-energy-store is disproportional to the amount of energy ultimately being used from the store as a result of the reaction; therefore using fuel for power results in so much waste and pollution. An infinitely better approach would be to access energy which is already in a usable and transmittable form: ions/electrons. Since the Industrial Revolution we have been going underground for our fuel: oil, gas, and coal; we have foolishly been using solid substances in which energy is imprisoned (in a prism or crystalline structure). The Ancients, by way of their infallible scientific method, always used the most energetically efficient methodology to accomplish any task, or reaction; therefore, they intuitively understood the profit in accessing ready-to-use electricity directly from the atmosphere rather than using chemical batteries from the substrata to unlock their potential.
The Sun, then, is merely a capacitor which acts as a register of the total amount of electromagnetic energy running though the field-system. The size of the sun is always proportional to the size of its solar system based on a factor of current-density to field-area. It is like the size of a nucleus being proportional to the size of an electron cloud because the number of protons posits the number of electrons and vice versa. The earth is an electron to the nucleus of the sun. Just as the electromagnetic force (which bends the negative outer field of the atom into the positive center) sends the electron “information” relative to its position around the nucleus which tells it in which direction to orbit, so the gravitational force (which bends the “negative” field of the earth’s motion into the positive field of the sun) sends the earth waveform information signals relative to its position around the Sun which tell it in which direction to orbit, along which numerous other bits of information regarding generation, life, and weather patters. The Sun sends the earth information through the forces of attraction which bind them together in orbit. This information is sent as waveform transmissions and is registered in the charging of particles in the ionosphere. The natural currents operating between the charged earth and the charged atmosphere conduct the ionic information from the atmosphere into the bodies upon the surface of the earth. The Mer-tower amplifies the charge on the surface of the earth using a triangular construction and some type of metal so that it can increase the difference in potential between itself and the electrical source which it wants to access, causing the source to discharge its electrons into the metal to be conducted into a capacitor. This will enable the Mer system to efficiently receive ambient transmissions from the ionosphere through its capstone, conduct it into a store of energy at its base, and release it back up to its capstone where it will either send the information to another Mer-tower, to the ionosphere, or to another star system like Sirius B (if the transmitter and receiver are aligned and sufficiently empowered).
According to my understanding, the Mer can not only receive, harness, and transform transmission from ionic currents but also from the waveform sun rays (photons). That is to say that the Mer-tower may function as a solar power plant as well as a radio tower. The surface faces of the sides may be coated with solar panels, or some other light-registering cell. Further structural functions that had energetic implications: (1) the pyramids were coated with limestone (which acted as an insulator to keep energy inside) (2) granite lined the shafts, causing ionization of the air (conduction of electric charge) (3). due to aquifers (water channels underground) below the pyramids, electricity was transmitted by way of additional channels to the pyramids from the moving water.
A Note: modern scientists and engineers often “debunk” these theories of power generation in antiquity. We as students are not to give upon on our research in light of this disbelief, but to strive further toward the proof that this system can operate. Because—clearly—is has done so.
Nur Ankh Amen writes in The African Origin of Electromagnetism how the “shrine” is a scriptural symbol for a capacitor which, coated in gold, carried an electrical charge which was hot to the touch: hence you have biblical accounts of “the wrath of God” being “kindled” against those who touched the shrine without proper ritual (discharging procedure). In order to properly discharge a shrine, the engineer needs a ground-switch or Was scepter; the Set-head of the Was lies against the shrine and the hooked loop grounds the charge of the shrine to some circuit. Such a shrine shall be placed at the base of our Mer-tower, where our acquired energy will be stored. This will be the primary storage unit of electrical energy in the complex. I must study more about the layout of a power plant, but it seems to me that we then need what the ancients call Djed pillars. Djeds are electrochemical batteries which carry a given charge of power. They are made by alternating sheets of different types of metal between acid-soaked paper or medium so as to create a mineral-acid pile. Some of these may be constructed very large, like great pillars, and connected to the capacitor along an avenue. There may also be home-sized Djed piles and portable Djed staffs designed for people to store and carry power back and forth from their home to the Plant.
36 Chambers of DOOM, kid!
an Urban Legend
by Antarah Crawley
In this Samurai Hip-Hop History, the Two Lands of Shaolin are created and the Generations of Men and Women are Born to their Ancestors, but when an evil Merchant takes control of the people and the Island, one man must rise up to save his people from D’evils.
Rig Veda, Hymn CXXIX. Creation.
RIG VEDA, HYMN CXXIX: Creation. A Hindu interpretation of the Khametic Doctrine of Ptah raising Ra from Nu by Khepera.
1. THEN was not non-existent nor existent: there was no realm of air, no sky beyond it.
What covered in, and where? and what gave shelter? Was water there, unfathomed depth of water?
2 Death was not then, nor was there aught immortal: no sign was there, the day’s and night’s divider.
That One Thing, breathless, breathed by its own nature: apart from it was nothing whatsoever.
3 Darkness there was: at first concealed in darkness this All was indiscriminated chaos.
All that existed then was void and form less: by the great power of Warmth was born that Unit.
4 Thereafter rose Desire in the beginning, Desire, the primal seed and germ of Spirit.
Sages who searched with their heart’s thought discovered the existent’s kinship in the non-existent.
5 Transversely was their severing line extended: what was above it then, and what below it?
There were begetters, there were mighty forces, free action here and energy up yonder
6 Who verily knows and who can here declare it, whence it was born and whence comes this creation?
The Gods are later than this world’s production. Who knows then whence it first came into being?
7 He, the first origin of this creation, whether he formed it all or did not form it,
Whose eye controls this world in highest heaven, he verily knows it, or perhaps he knows not.
English Syllabus
AN ENGLISH SYLLABUS
“…to obtain power over any given material one need only understand the causal laws to which it is subject.”
—Bertrand Russell, as quoted in Cleanth and Brooks’ “Introduction,” Understanding Poetry, p. 191
The following paper represents the Author’s second attempt to convey the Occult Systems at work in Literary Theory as presented in the Course of Professor Antonio Lopez’s design, commenced and completed in Fall 2015 at The George Washington University. The initial mission of the Author in his commencement of the Course, being to illuminate the god-workings of author and the textual manifestation of its will as perceived by eye & I via a Cabalistic pattern, was poorly embodied in the First Paper; it was much too Occult and not Disciplined enough in the ways demanded by Academic Literary Theory as a school (i.e., it did not accurately enough translate its esoteric significance into academic vocabulary as we have been learning it). The Author remains of the opinion that Occult working are not only present in the Theory, but inherently warranted in their exposition due to the practical way that they (to say “it”: the Cabala) structures this and every other discipline, like a skeleton to a body, or a syllabus to a school. The present paper will more pointedly align the texts of the syllabus of the Course along the ancient Cabalistic pathway to unveil the (con)text-to-author / human-to-god / matter-to-spirit / solid-to-ethereal / being-to-nothingness / condition-to-absolute / phenom-to-nous relationship inherent in all disciplines. The author has had success applying the Cabalistic pathway to various real-world systems—even to those as dry and bureaucratic as the New York City Department of Health—and herein wishes to apply this pattern again to the present system of Literary Theory, with text being at the bottom of the system, being the densest, most matter-full, and author (or writing, the act) being at the very top, the crown, the most ineffable, the most ethereal; and with “meaning” as an absolute pool, encompassing the whole system, we shall elucidate the metaphysical condensation which takes place when the absolution of uniform universal meaning is channeled through an author whose creative process begets a text of new form and invention: a literary text.
A brief priming in the Cabala is required. Without the use of visuals, we may structure the Pattern in a 3-by-7 grid, also a matrix. The matrix describes the relationship of numbers, themselves beholden of certain values. Row 0: 000; Row 1: 010; Row 2: 302; Row 3: 504; Row 4: 060; Row 5: 807; Row 6: 090; Row 7: 010. The 7th Row is naturally the bottom, the 0 Row the Absolute above the peak, Row 1. The 7th Row is matter; the 0 Row absolute spirit. All elements of the disciplines may be plotted on this graph. Below we will examine where the theories within the texts of the Course’s syllabus fall along these coordinates. In our present application, Row 7 represents apprehending the literary act through its evidence in physical text and Row 1 represents the apprehension of the literary act through the act of writing out the text, mediating the absolute spirit of “meaning” through the I / 1 / eye of the author / the point of the pen / into the solidity of text, which in turn (“as above so below”) represents the 0 plane of absolute meaning married to the 1 plane of the authorial ego: together being “10”. To use the eye / I to guide the text from the 7th to the 1st Row (which is to undo the “10” into the “1” and, ultimately, the “0”) is called reading. The numerical spectrum which lies between the 10 and the 0 is arranged according to proximity between matter and spirit, or, here, text and meaning; below, the examination of each “number,” or “emanation,” [Hebrew: sephirah] of meaning will correspond to a text in our Course’s syllabus.
Herein I am not performing reading to support evidence, neither exploiting evidence to support theories (as they have been presented in the Course), but using theories to support Science: the Occult Systems at work in all. Let it be reiterated that Occult Science, the here-defined Undiscipline of Disciplines, or that system which may undiscipline other disciplines to illuminate their commonality, is a malleable application-based System which is as (and more) useful to Academic Critical Theory as Marxist, Feminist, Neo-Colonial, Crip, Queer, or any other application-based theory.
The Cabala may be apprehended, as a structure, through the similar diagram of I. A. Richards’ design, as explained in his “The Analysis of a Poem”. To preface its design, and to explain its need, Richards says “The critic is, throughout, judging of experiences, of states of mind; but too often he is needlessly ignorant of the general […] form of the experiences with which he is concerned. He has no clear ideas as to the elements present or as to their relative importance. Thus, an outline or schema of the mental events which make up the experience of … ‘reading’ a poem, can be of great assistance” (The Lyric Theory Reader, 166). This author is of the same opinion, except that where psychology is employed as the backbone of critical judgement (at the ellipses), this author generalizes the pattern to an Occult one, but it is beholden of the same characteristics; as where a New Criticism was founded upon Richards’ system, so a New Syllabus is erected upon the Occult Systems.
The diagram on page 167 of the Lyric Theory Reader is remarkable, not merely for its simplicity and practicality in visually representing and alining the elements of reading for the education of the new student, but also in its striking resemblance to the ancient Cabalistic pattern of spirit-to-matter manifestation. Richard’s diagram is composed of the words “Arcadia, Night, a Cloud, Pan, and the Moon” being each drawn together by individual lines which taper, or condense, into the center of an eye, from which the same number of lines expand outward and cascade down a six-fold plane. Several things must be observed here. (1) The list forms the base of an inverted triangle whose peak lies at the eye (note all connotations: eyes see, I see, I, 1, phallic, ego, exterior-to-interior transitions); (2) The eye also forms the peak of a triangle which descends unto the six-fold pattern which is its base and earth and depth [note that the Cabalistic pattern contains three triangles, only the highest being upright, the lower two being inverted and pointing to “10,” the earth]; (3) The eye, or the ego, represents a singularity, such as that which lies within a scientific black hole, wherein matter in condensed unto one [1] ultimate point from which it then manifests anew on a different plane of existence: herein the information of text is shown to be being consumed by the eye and regenerated on the interior of the mental landscape, which is the six-fold pattern; (4) Richards’ design can be read Cabalistically both backwards and forwards: “Arcadia, Night, a Cloud, Pan, and the Moon” is the absolute abstract “meaning” at Row 0 being drawn and condensed into the eye (the I) (the 1) at Row 1 and manifested on the subsequent six descending planes unto the base level of text—and it is also the surface of the text, the 10, the base, the words themselves, which are then siphoned by the eye of the reading ego into the system which ascends the number line unto the 000 plane of that text’s absolute meaning. In either design, Richards and Cabala each maintain one absolute plane and seven planes of manifestation, of which one is a 1 / I / eye / subjective ego: first manifestation of differentiation and numerical progression, i.e. time. Richards’ planes are designated {by row number: [mine (his)]}: [0 (0)] “Arcadia, Night, a Cloud, Pan, and the Moon”; [1 (unnumbered)] eye; [2 (1)] visual sensations; [3 (2)] tied imagery; [4 (3)] free imagery; [5 (4)] references; [6 (5)] emotions; [7 (6)] attitudes. The Cabalisitc planes and their syllabic correspondences are listed further below.
Richards later, in “The Definition of a Poem,” defines that structure as “a class of experiences which do not differ in any character more than a certain amount, varying for each character, from a standard experience” (176). He later defines the “standard experience” as that of the poet in the completion of the composition; the text of the composition being merely the evidence that the experience was had, what form in which it was experienced, and those qualities of form which will lend the experience to others as readers reëxperiencing the event. Therefore, within the parameters of this spectrum, the base-matter 7-plane of the poem is the form which the event (to be subjectively experienced by the reader) is conveyed in, the phenomenal evidence of it, and the high-ineffable 1-plane is the “standard,” or perfect, or absolute, experience of it, as aggregated form the multitude of experiences which it may inform, the whole of these being called “meaning,” or, in Occult terms, God.
Row 7 [010] is matter, is text, and in theory is understanding the text at the level of its words alone, the evidence of its manifestation alone, without considering the elementary composition or the etymology or the depth or the implications thereof. The text of our Course which most exactly emulates this nature is Stephen Best and Sharon Marcus’s Surface Reading: An Introduction. Row 7 lies upon the plane of solid matter and is most dense, sitting upon the surface of the earth while on high Row 1 rests ethereal in the heavens. Similarly, Best and Marcus’s theory only accounts for the surface of text, considering the excavation of deep-rooted meaning a fallacy, or, at the very least, unnecessary to good criticism. They first align themselves with Fredric Jameson’s conceit upon Symptomatic Reading that “interpretation should … seek ‘a latent meaning behind a manifest one’” (3) which is as well the Occult thesis; but then they depart on the basis that latent meaning may be apparent from the gaps in the surface of the matter of the text, and thus requires no probing as is required herein. This is fallacious as it assumes that what the text does not say may be glimpsed from a surface observation of it, but requires no investigation of those hollow depths to make use of them. Surface is thus rendered to mean what is “evident, perceptible, apprehensible in texts; what is neither hidden nor hiding”; surface as “materiality”; surface as “intricate verbal structure”; surface as the “location of patterns…within and across texts”, to say that this theory of reading looks for patterns “in order to break free of and reach beyond them to a deep truth too abstract to be visible or even locatable in a single text” (9-11). Symptomatic Surface Reading thus advocates for a look at the superficial aggregate of many texts rather than a probing investigation of the esoterism in one to evoke deep meaning via a critical system. Not only is this oxymoronic due to the desire of these theorists to evoke depth solely from the surface, but it pointedly ignores the obvious nature of every singular text to span the spectrum from matter to spirit, from text to the highest depths of absolute meaning. Remaining in the realm of that which is obvious and perceptible may lay plain the landscape but excavate nothing that cannot be better excavated by localized plumbing. And so in the base-10-kingdom of matter, we either choose to plumb the depths and perhaps risk intention fallacy on part of some divine persona (which we feel to know to exist, and must thus delve in search of) or remain on the surface of matter and merely describe, account, aggregate, accurately, as like a computer. This latter method is all well and good should the reader will to remain in the Kingdom of earth, but we as critics will to ascend up to the heights of absolute meaning, and so remaining upon the Surface will serve us unwell. If surface is “materiality,” then materiality is merely the evidence of deeper Cause which must be excavated to understand the result in any scientific way. The surface of the text should be used to obtain a foundation for summiting the system of literary meaning.
Row 6 [090] is the foundation of ascension from text unto absolute meaning. Since the foundation lies securely upon the surface, the 6th Row accounts for the generative nature of the text proper, i.e., how the physical word is able to conjure in the mind impressions of some other reality. The methods of apprehension inherent in this practice are best represented in our New Criticism readings, foregoing Richards since his model serves as an analogue to our present one. The latter New Critics (specifically, for our purposes, T.S. Eliot, Cleanth Brooks, and Robert Penn Warren) used Richards’ model to imperfect affect as they vehemently crusaded against Intentional Fallacy and insisted on apprehending the text at the level of its impressions and sensations upon the reader. This focus on the text as matter—as syntax, word choice, meter/rhythm patterns, etc. (not much better than the Surface Critics)–emphasizes the bottom of the Cabalistic Pattern, the 6, 7, 8, 9, and 10, or the 4th, 5th, 6th, and 7th Rows, at the expense of the higher cognitive will and mercy and the trinity of consciousness of the god-author persona at the higher Rows of the pattern. Therefore New Criticism lies at the Foundation-9 of the Occult methodology in terms of its mission to illuminate the base-10 of text with the major comprehensive faculties of the 8-intellect and 9-emotion and spans up to the Harmonious-6, but ascends no further than that. But what furthermore entrenches New Criticism at the Foundation of a Cabalistic Interpretation of Literary Theory is its concern with the scientific method of reading and criticizing. While “the language of science represents an extreme degree of specialization of language in the direction of a certain kind of precision,” it must “forego, because of its methods, matters of attitude and interpretation,” matters with which literature is consumed (Cleanth and Brooks, 179); it thus became the necessity of New Critics to impose a scientific methodology of provable interpretation of subjective feelings as based on objective and concrete textual evidence of syntax, meter, etc. In this way they have already begun the work of the Occult Science; similarly as texts are mapped from their form to their impression upon the mind, Occult Science is primarily concerned with mapping the relationship between that which we can perceive (phenomena, matter) to that which we cannot perceive (noumenon, spirit) in the evocation of an objective system of interpretation. Furthermore is it useful to note that Cleanth and Brooks write, “both the impulse and methods of poetry are rooted very deep in human experience, and that formal poetry itself represents, not a distinction from, but a specialization of, thoroughly universal habits of human thinking and feeling” (182). Note the emphasis on depth, and the necessary departure from surface reading via this New Critical Methodology unto the submerged, esoteric, systems of relation. Note also the emphasis upon poetry’s ability to convey, or to conduct, “universal habits” of humanity into unique form; this represents the transition from an Occult absolute meaning of consciousness to its apparent manifestation in form via author. Text, just as Earth, is the result of Divine Cognizance, which is the Cause, the Pattern being the means, or, the methodology. New Critics imply the objectivity of the result without accounting for the Cause; thus necessitating further investigation through the Pattern.
Out of the Dark Emerging
“Out of the Dark Emerging…”: Encountering Alterity, or, The Inevitable Divergence of Colliding Phenomena
At the moment that we encounter alterity, each diverts the “other” from their path, and their material body is altered in such a way that, as Derick Attridge puts forward in The Singularity of Literature, when one encounters the other one encounters “not the other as such … but the remolding of the self that brings the other into being as, necessarily, no longer entirely other (23).” This idea of the other being at once separate from the writing entity and, upon convergence with said entity, becoming an inherent part of them, opens up the phenomenon I wish to evaluate here. The writing entity may refer to either the writer who manifests the other upon the page as they are writing/after they have written, or the location where the writing had occurred, which then becomes other when it enters the world and comes into contact with the entity involved in reading the other, making both entities an other to each other. We will dwell more heavily in the former example: the process of manifesting the immaterial other in the material world via textual phenomenon. This model of writing implies the influence of the Yet-Unmanifest which is the root of all literary textual phenomena and the dictator of the rule for encountering all such phenomena; the writing of every unique text brings into creation the essence of the Yet-Unmanifest via the particular and inventive formation of that essence into the solidity of form. Though we know that from the Absolute Unmanifest was longtime past begotten the Practically Infinite Plane of Manifested and To-Be-Manifested Phenomena, thereby displacing the Yet-Unmanifest phenom of creative writing to a secondary pool of conceptual sources derived from experience and reading (and also the unprovable influence of Human Intuition into the Absolute), we assert that the Yet-Unmanifest text of writing via the writing agent comes, by way of a complicated metaphysical transition from Absolute-to-Conditioned being, from that Absolute realm from which all writing is begotten in common. The invention and creation of the writing agent warrants their body’s “ownership” of the resulting textual formation, but, again, only in body—in sentence structure, tone, meter, and vocabulary: the things that make up literature as a phenomenon separate from continuous human reality, and that which gives to each individual authored piece of literary text their “authoredness.”
“What exactly am I doing as my fingers press the keys and my eyes scan the screen?” asks Attridge (17). This sentence is the form that the writer has chosen to embody an Absolute, universal quandary which is: what constitutes the act of writing? Any person can conceive of this question—and even write it down—but the fact that the sentence containing the conceit has been placed in quotation marks and attributed to a page in a text authored by Attridge proves that authorship is conditioned by form, not content; and that the activity of writing may be organized pyramidally—as a hierarchy: proceeding from the formation of sentences by a writing agent (briefly described in the Attridge quote) there is the level at which the public experiences the writing, when the text is channeled into human expression from one to another, or as expression produced in the reader in response to the text; preceding the formation of the sentences by the writer there is the world of creation in which the ideas channeled from the yet higher plane of Unmanifest ideas begin to find their form (they take shape) in the mind of the writer. Thus the hierarchy of the activity of writing descends as follows: (0) The inaccessible Absolute Unmanifest from which the entirety of human ideas has already been borne into the reality of human accessibility in (1) the world of Origination where the infinitude of human ideas floats ethereal, ready to be plucked by one archangel of authorship (or, a muse) and worked into a general unique and literary shape in (2) the world of Creation, in which the crudely shaped essence of the content is further worked into a form which manifests in (3) the world of Formation, and is then conveyed via the form of the text as “created” by the author to the masses in (4) the world of Expression.
The (0) plane of the Absolute Unmanifest cannot be comprehended by human minds, and so it would be foolish to do anything but praise it, for it is no thing, nothing, hollowed, hollow, whole, and holy. The (1) plane of the Yet-Unmanifest Origination of All Thing does not attain the divine heights of Absolute noumena, but it is nevertheless in its infinitude so inconceivable by the human mind that it may as well lie in the realm of the unattainable. The present analysis of writing must therefor focus on the (2) world of Creation as the first performance of the writing activity we may scrutinize.
Creation is unique because, as Attridge acknowledges, “there are times when … I am not putting into words a conceptual structure I have already planned, not tinkering with an existing text to make it more accurately express what I want it to say, not working out a problem according to a preexisting set of rules (17).” This is to say that when the writing persona is not dealing with phenomena that has already entered the world of Expression (or, refashioning the already formed), but siphoning from a Yet-Unmanifest plane the germs of a new form, then they are creating. “I seem to be composing new sentences out of nothing [italics mine],” he says, acknowledging the holy No Thing which is the womb of human creation and expression, that body from which all our bodies and all our ideas have sprung. Going on, he says, “from time to time the nebulous outlines take shape …” noting the way that the diffuse of the essence of human ideas are formed, or shaped, somewhat crudely, from the ethereal, non-physical melange of material Origination (or, as he calls it, “the largely inchoate swirl of half-formulated thoughts and faint intimations” [which is how the world of Origination appears to the human psyche]) (and he enforces, as well, the cosmic allegory, emphasizing the way that the diffuse of the nebula collapses, after enough mass [content] and gravity [unity] have been applied, into a star: a more condensed unit of literary “light”) (17). In this process he find himself always losing his thread, deleting, and going back over his process of writing to say “what needs to be said,” or, he corrects himself, what “demands to be said (17, italics his).” Here he admits that he is but compelled by the Absolute Being of the Womb to write out (use his body as a vessel for manifesting) her essence (universal ideals) in a new unique form (the product of the text). “Motivated by some obscure drive, I sense that I am pushing at the limits of what I have hitherto been able to think,” he finishes his paragraph, and in this conclusion we see that he has risen up the hierarchy of the literary phenomenon, having moved beyond the mere regurgitation of preformed or reacted phenomena, past the making of sentences, past the idea of what it is he is writing, past any concrete conception what he wants to convey, and has hit the ceiling of the Yet-Unmanifest, the limit of his manifested thought, beyond which remains hitherto unthought. Attridge is not writing criticism in this paragraph. For one, he is writing a personal-philosophic reflection and, secondly, it is a spiritual speculation above all else.
Attridge acknowledges shortly after the above discussion that “what I am trying to shed light on is not at bottom a matter of psychology, consciousness, or subjective experience, but of structural relations (18).” Oh, oh, oh. What Attridge describes as an “attempt at introspection” is not merely so: it is in fact the literature he wishes to critique, and now, unfortunately, he moves into a more disciplined criticism wherein he remains in the world of Expression—the lowest realm in the hierarchy—wherein he responds to the previously thought instead of the exciting world of the hitherto unthought. But, then again, one cannot be employed by an academic institution and expect to maintain a salary writing about that which cannot be proven by the populous; the Esteemed Critic must guard his essentially spiritual and personal quandaries in the veils of discipline, and support himself upon a foundation of tradition and rigor, lest the work of literary theory be confused with that of psychology or theosophy—how horrific—so different they are! So sad, as well. I wish that we could remain in the realm closer to the Unmanifest, as that is where I am from, that is where my heart is, and all the implication we see here on earth, in the Kingdom, have their roots above, in the ethereal Unmanifest noumenal nebula of all descendant phenomena.
The Phenomenal Textual Encounter
The Phenomenal Textual Encounter, or, The Body Dramatically Contorts the Curvature Of SpaceTime
In my authorship I am neither creator nor authority but merely an agent—of what then? Two things: language (as a human construction) and construction (as natural [original], nonlinguisitic phenomenon); (between them lies a gulf of meaning, strung over by a rickety bridge, but we cannot dwell here). The latter precedes the former in form and being but may not be conveyed without it; the former results from the need to convey the latter but in its own form reformulates the implications of the original phenomenon. The text which lies here, resulting from my formation of its form borne uniquely from my interior into our exterior, possesses an “authoredness” unique to my body and mind. Why? Is it merely, as Derick Attridge calls it, “the product of a mental event … whereby the processes of linguistic meaning are conveyed”? If the constructions are not original (their referents are preexisting, natural), then how did they get into me originally, only to be borne out as descendant, and to what extent is my reformulation of the ideas belonging to my body or of the world? Attridge would conceit that it is on the part of my “invention” that the original constructions have been borne through me into their new literary manifestation. What have I done to be called an “inventor” of text? The answer, Attridge concedes, has more to do on the part of the reader than myself, the “authoring” persona: “The experience of the literary text … arises not from the content of the invention, the series of arguments or proposed concepts it puts forward, but from the reader’s performance of it.” And so I have begotten a reconstruction of original otherness (phenomenality) which is then rendered somewhat benign inside me and leaves my body in a body of its own and enters my potential readers’ (your) body as other, and what do you do then? You are just an earlier me, experiencing these original phenomena anew, renewed, although set apart—singular—in their new inventive forms. My invention, my creativity, is now a part of the original. I am “a writing” and I am always “a writing” in my text to the reader since the encounter of my insides and your outsides in the text-space continues to be experienced as a singular event by every eventual reader. Yet wherefrom do I, the writing, encounter the phenomena and the language I have fit to it? The answer is that I have read them, that is to say, experienced them. In writing, an authoring merely siphons from the internal understanding of worldly referentiality back into the exterior; yet, from that new emergence, a text now born with a body of its own to meet (possibly) with my body’s mind (as many have done), how is that exterior phenomenon encountered and experienced in my own body. How is phenomena in general passed from external body to internal body—and if it means something, tickles a fancy, whose fault is it? We may do well to assume the autonomy of the literary event, that a text with no agency perchance encounters our body as a conductor which catalyzes it into reacting in a way that dissolves the text from a solid external to a permeable substance which may then be allowed to pass across the divide of our interior consciousness. The order of the words on the page is the event in which we are participating, the substance we are bringing into our bodies. So a statement like “the otherness and singularity [of literature] arises from the encounter with the words themselves, their sequence, their suggestiveness, their interrelations, their sounds and rhythms,” may be said to bestow upon the literary object unique in its originality and invention the quality (form) of any natural phenomenon we may encounter.
We cannot be sure of most things. How have the elements been brought out their dark origin to mingle in the ways they do now? Some of the disciplined nature would assume that some agent to be worshiped had their hand in the composition of our world. Empirically, we cannot account for this, and so like the New Critics, indignant of the conceit of intention, we turn to the “real stuff” of our world—our word. Literature, in lieu of the intentions of an Author to produce such a product, and not ultimately reliant on the fact of its existence to be experienced and thus propagated in the mind of humanity to reach the esteems implied by the term, must be the result of happenstance encounter between outside and inside, text and mind, as like fire and water so met will simmer, and only incidentally intentional, whoever responsible having set the quarks in motion some indefinite and therefore irrelevant years back; and it is clear that the majority of intentional attempts to create literature have begotten forgotten works of which, should they constitute a loss, the world remains ambivalent.
Two bodies, remote from one another, may be composed over time and set in motion, regardless whodunit, and with Time and his concubine, Inevitability, they collide in “a temporal event,” to again quote Attridge. In the meeting of these phenomena, the reader and the text, both inert, the reaction of literature sparks a heat and light and an alteration of elements and states of matter; the agency of the human conductor felicitates the transfer of energy from the text to the interior consciousness via the same paths taken by sensory experience and knowledge. The reader acts as catalyst in a reaction whose end result will be the transfer of non-material information from one spatial and temporal region (the writing of the text) to another. These regions, while too complex to thoroughly evaluate here, represent relationships between infinitely expanding space and infinitely condensing space—that is—space that goes on around and beyond us and space that contracts and gets denser within us. It is my theory that while the area of the universe continues to expand into the unknown border-regions of space, one may always define a boundary within which space acts equal to the rate and opposite the direction of change occurring outside the boundary, which we may call the event horizon—to say that there is as much linear movement occurring within the body contained by this event horizon as there is occurring outside of it in the exterior expansion of space; while space contains infinite such bodies, these bodies also contain the inverted yet equally vast frontier of interior space. Like outer space, this inner space contains matter and energy. Of matter, the bodies break down into smaller units which, spatially, become denser and more uniform, from liver to tissue to protein to cell to nucleus to atom to neutron to quark to … Of energies, the bodies condense and become pure aesthetic designation, from gas to nebula to star to sky-light to the star-gazer to astronomy to sublime … and the ultimate uncommunicable sensation which absorbs the sensory information and releases it anew from the depths of the body’s interiority (soul?) is the mirror of the deep expanse of space which troubles and awes us with equal power.
When the event horizon of a particular body is conscious of its boundary due to capabilities of memory and self-awareness, then such a body may actively (as opposed to simply passively, as the leaf passively experiences the ozone) transmit sensory information across the divide. This type of encounter may be called learning, or scholarship, the endeavor to apprehend sensory information. Bodies receive information in passing all the time, but the phenomena of the Outer World are just as ready to be taken in with intent. The Outer World is infinite in its phenomanifestation, or the complete probability set of combinations of elements which beget the whole of the world’s experiences. But the whole of this set is unlikely to be encountered by another body; much phenomena remains inert in the vacuum of space and thus fails to be channeled into the interiority of other compartmentalized bodies. In this way, they remain unread, and largely inaccessible. The phenomena of the Outer World exist insofar as and up until the point that in order to persist beyond the reaches of their form, or body (i.e., in order to maintain causal kinetic motion), they must be channeled across a divide implied in the event horizon of another body, after which their journey from Outer Space unto the local singularity of their experiential trajectory may continue inwardly and in a contained manner with equal rate and longevity into the “center” of the body (“center,” in that the phenomena become abstracted, decompressed, and congealed at a dense center of unique informational gravity); phenomena are born out of the Body of Space and Time and into one of the many bodies of perceivers, each of which processes the information differently and depending on the contents of their interiorities. The active or passive transmission of sensory information across the event horizon may, for our purposes, be called “reading.”
The event horizon of a human being is technically uncertain. We know the limit at which the Outer World begins to affect our physical sensory experience of it, but the limits of Outer effects upon Internal emotional sensory experiences cannot be determined. The network of sensory nerves extends unto the layer of human skin, and so we will define that area as the body of any given human. This may also constitute the event horizon of physical phenomena, but for psychological, emotional, and spiritual phenomena we can either confine the horizon to the brain itself or to all that is directly in contact with the brain, what the eyes perceive at any given time, what the ears hear, etc.; in this way the event horizon of a human being may in actuality be a certain circumference of Outer Space surrounding the physical body. It may also be the collective Interiorities of Humanity, or at least the surrounding population of sentient beings, if we are to consider empathy as a sense. In any case, for our purposes here, the event horizon of human being is the Outer Space matter and energy being directly experienced by the body of the human at any time. What one experiences informs ones context in the world and in the relationship between phenomenations of sensory information.
Sensory information may be conveyed through methods other than experience, such as representations of sensory experience. When a representation of a sensory experience is accurate or particularly poignant, then it will incite a unique feeling as it passes the event horizon of a human being; we may call this event a recognition: the body recognizes the representation as referential of some “true” experience or “true” phenomenon or that such a phenomenon could likely occur or be true. Herein the event of literature becomes apparent: when the Inner Space of the body receives from the Outer Space a sensory experience which incites in the body a unique feeling of “understanding,” i.e., the apprehension of some truth as a performance of truthfulness, a recognition of reference, or the potential thereof. When one apprehends sensory information in the form of text then one may be said to be “reading,” but when the information causes a reaction in the body whereby pleasure or the uncanny or the sublime or any other designation of aesthetic, abstracted sensation is experienced because of a “truthful” or “significant” encounter, then one may be said to be “reading literature.”
Texts, when they come into contact with a reader, become a plane surrounding the event horizon of the body; the text, in reading, becomes experience, the Immediate Outer World. Of course, the content and form of the Immediate Outer World is informed by the Far Outer World of Time and Space, whereby time past spawned the events which were to be recorded and the persons who would record and distribute them and the context for the encounter with the particular reader (because every reader and every reading is different) as well as near-infinite other significant details predicating the encounter. Yet when that fortuitous meeting occurs, the entirety of the world bears down upon the body through the dense symbolic medium of the text; then, the medium of the body conducts the Outer World of the text into the Inner World of the Body and unifies the duality of experience for a moment, until the encounter is passed into the networks and physics of Inner World Reality and processed in one of many psychological ways. The Immediate Outer World meets the event horizon flush and via a particular Intermediary System (which is known to the writer but cannot be described within the limits of this paper) is absorbed into the Inner World and proceeds deeper and deeper within the body.
We may picture this event geometrically. Consider a diamond; between two vertically-aligned points, a center expands outward at equal length in both directions. Now invert the image; replace the line with a point and the points with lines; a rectangle appears to be pinched in the center; two triangles meet at their apex in the center; a base narrows to become a point which begins the cascading expansion of another base. At the top base we find the expanse of Outer World Phenomena. As the base contracts the scope of phenomena shrinks into a smaller area, until just before the center point the phenomena is fully compressed into the text which then encounters the point—the singularity—of the reading of the text. This singularity is the reader encountering the text. After the singularity the Outer World text is transmitted into inner world sensory information which expands and diffuses to make up the Inner World psychological landscape. At the base of Inner World sensory information, the text has become so diffused as to be unrecognizable by the reader at the singularity. Yet there remains in the Inner World of the reader an understanding of the sensory information experienced. When encountered again, the sensory information will incite a recognition in the reader that the event is familiar, uncanny, or “true.” The reader will then designate the new encounter with the sensory information “literature,” retroactively label the first sensory experience “literature,” and seek out similar representations of sensory information to be designated “literature,” and taught and disseminated as such to others to share the experience for the value of the recognition it incites. Literature, thus, represents the rewarding movement of Outer World Phenomena via its condensed manifestation as text through the singularity of the reading body, thereby altering its elemental composition and state of matter in a way specific to that particular reaction, and its processing through that body’s Inner World store of Sensory Information.
Sonnet CXXIII
No, Time, thou shalt not boast that I do change:
Thy pyramids built up with newer might
To me are nothing novel, nothing strange;
They are but dressings of a former sight.
Our dates are brief, and therefore we admire
What thou dost foist upon us that is old;
And rather make them born to our desire
Than think that we before have heard them told.
Thy registers and thee I both defy,
Not wondering at the present nor the past,
For thy records and what we see doth lie,
Made more or less by thy continual haste.
This I do vow and this shall ever be;
I will be true despite thy scythe and thee.
–billy shakespeare, no. cxxiii
