by Evan Isoline

The rosy tigers mutated under your fingernails. (This is probably my favorite photo.) Mimicry. A few of the tigers are just clones of other tigers. (Click to enlarge.) 

Of my blood-colored wheatfield when I hold out your fingernails. The sunlight is too much for your eyes and you are not alone. Your eyes will never be too much for me. A mere mite, a blighter of a blab, is what I would offer in lieu of a reckoning. We are not yet at the level of the dead and I am not a dead man. My balaclava is an emblem of the dying. Their sum is a symbol. Where is nobody? 

(Click to enlarge. Click the face of a tiger to see more detail.) Where is the one within and the one outside and its sound? The grasslands are jacinthe in your grasp, where everything is different from everywhere else, where your own little dream is brook-fed and teeming. I would tell you that everything has been done, but I would be an imp of the first rank, a reasting renaissance is what I would breed. The sound of the grass is enough. 

Your fingernails are clogged with light, baetyl stones of a new order, and the teeth of the sirens grind for art’s murder, but not yet. (Click.) The tiger’s face is an empty white mask of what is not. The sun is an example of how to perceive such things without knowing them. I am nothing if not an unidentifiable symbol. Garish as the tiger is. What somebody is beyond speculation? Your bullfighter sweat and so forth. It was a ghost thing. You leave my skin on a faraway hill, as I stammer, oh so happy, a fool in the stage light. (Click image for more detail.) 

I was familiar with two things. This place is without an architect. The second thing is that you had already made me a copy of myself. I cannot speak for the mountains I left in the desert, where my parents are watching birds with strange eyes. The way that we are not our bodies. The tigers through the holes of a ski mask make you forget about the emptiness. There are tigers in the trees. You mouth the word “fire.” Your picture is a dalliance, of the sort that has not a blush or a blench, of what might be in a way not worth seeing. (Click to expand.) 

Nobody here is waiting for the other tigers to evolve. You are already an avatar for a different you. (Click image to open in new tab.) The tigers have feathers in their mouths, but this cannot be taken as proof of a connection to the sky. You shake your head, fraught with pang, point toward the spikelets of foxtail, needlegrass and brome, you make the sign of a rectangle, in the air with a finger. We stared at the clouds that had gushed out or met amorphosed. Each omnipotence is a solitary duet between the sky and itself. (Drag the edge of the frame to adjust image size.) 

There was something familiar about the image. Medieval ghosted tigers, phantasied, decorated, captive until transferred to the new host. Do not expect them to be shunted to a pool of goo. Endosymbiotic rift, a slurp that equates them to stars running through my fingers. (What you click will tell you what you were looking at.) The image had a function outside of itself: it was a map of unconnected places. Antipodes. Not an object that is seen, but a subject that sees. I go back to the niches to repeat a bitter remorse. Grapefruit sweat and so forth. The white tiger on the right has been painted red to resemble the blood of the sun. The tiger to the left is an homage to your love. 

You make the sign of a triangle, which I see as a sail or a wing. A boat is an object in pre-phonological perception: a sight-word. So is a plane. But I know what you mean. The tigers of the droning sea, you think, they do not go near the surface. You would daftly dare to swim them up, just for a look at the sky. The white sky gralloched for the same reason you pleaded the sea to a truce, the bamboos of a broken arpeggio, also palindromes of the moon, fed your carpals with a thunder that flayed the clones of the tigers, more gaunt now, as the image becomes less a representation of the sun and more a mirror of my own rage. 

Where peonies grow wild, the grey peonies sown to your nailbeds, the linden trees and their branches, encuticled. They are so much more, like you, a monasticism, than little beasts made of clay, in the mangrove swamps you call the stage. (Click for higher definition.) Gravity-truth or allegoric. The mince of this once plucky saint all twee and frown. How you muck up, bring ruin to undue dominance, slip to surliness. I don’t like a foretaste of masks. (This picture mocks the way I associate the word “mask” with the idea of masks.) The tiger’s face as a cynical rhizomatic wombland and it’s here. My memories as a blazing cyberlag, a vandalized temple to nature. 

(Open tab incognito, click, click, click.) The heliotropes and pyroclastic borages remember why they are trounced upon, the calliope hummingbirds you call in, each had a name. Why is a word a man? You remarked apropos of an answer, and through the mask you are always oratorically nude. The image is less associated with a sound than with a silence. The image of your dream, this theatre of plenitude and the lolling moorlands where you hide, or were you entranced by a graceless glow? No, flatteries like this, be damned, treasures of hurt, such as I cannot say, as drunk as a swan on white water, this Moloch’s mastery of miniatures—a mighty insectile burden!

(Click. Click. Quite satisfied with the double-click.) The white swan in the mouth of the tiger, the tiger painted black, the two in a circle, the cloned suns I had been too afraid to touch, that are, when they were the bribe for hate, loose swarms of lineages withering, after your abracadabra, waiting at chakra-points of my blank frame, cruel biomes, where the tigers flood in. (Click the maw to open.) The antithesis of semiotics, I suppose, is your picture, skulled in the throat of the tiger, kiss, kissed, by a wide-open spigot of ants. My own implications. The lust and fear of “why?” Why is darling. 

Even in the chaos, there is a number-zombie (letter), which is called Becoming. Autoflowering. Ditto dandelion and begonia. (Click the “x” in the tab to close the window. Force quit if window won’t close.) Remove the mask. The image wasn’t rosier than the cinders leaking up in the dark. The wet-winged tiger split this misanthropic breed from its old god. All your brooms were broken. Floating in the zeitgeist. The image approaches a thaumaturgical theatre. It was the day before, and suddenly it was gone, like a dream. Sunlight on a windowsill. Sunlight in your eyes. I’m a sign, they think, shifting up, back, subvocalizing. The most kind of jaw-dropper quill. Red of acetylene. Numb threads were woven along. Their sum was arbitrary. There isn’t a number lower than infinity.



New morning. New day. Are you awake? Clarify the moment. Breathe in. Exhale. Molecules of air. There is no breeze indoors. Only human thoughts. Swirling. Spiraling. Chaos & Disorder.


What is it?

Inventions of the mind. Distortions of reality. Turbulence. Entropy. Machine-made mind. Progress. Progress of a novel. Progress towards Nirvana. I am a bodhisattva. I am aroused by the thought of Enlightenment. I pursue the ox. I embark on the Way.


Leave the home behind.

Brisk walker. Keep walking. What do you see? Is it time to shave the head? Yes. It is always time. Are you afraid? Do not be afraid. Ten thousand Buddhas walk with you. 

Infinity of Buddhas.

Sit under the bodhi tree. Are you a dharma seeker? Here in Astoria, Queens is such a thing possible? Of course it is. Of course. How could it be otherwise? You have lain with many lovers. Forget their names. Can you forget? A test for you. I renounce my name. I am nameless. A bowl for rice. A flannel robe. Gnarled stick. I walk. I am the grunge Buddha. Pearl Jam. Nirvana.

Forget these sounds. Listen to Zappa. Captain Beefheart. Forget them, too. Karlheinz Stockhausen. Helmut Lachenmann. Forget! Surrender to the vast emptiness, nothing holy. The number 2222 is a special number. Ask no questions. Words. Numbers are beyond words.

Philip K. Dick has his Exegesis. This is mine. I am exploding. I am a Supernova. I am a Quasar. The brightest luminosity in the Universe. The brightest phenomena in the Cosmos.

I am a dragonfly.

Ephemeral as aether.

K. unsnapped Zig’s fly. She gave him the blowjob of the century. Zig lay there in disbelief & awe. I must forget the person I was. Cannot linger. Sukha. Leave the home. I get a haircut. A buzzcut. I feel aerodynamic. I might hit a first serve at 263 kilometers per hour. I hear water gushing through pipes. I hear cars humming over a motorbridge. A plane prepares to land at LaGuardia airport. Everybody is going somewhere. I am sitting. Mind is electronic fire.

If you scroll through this novel, it reads faster. Tips of our thumbs are fingertips. Easy on the eyeballs. Not too fast! Might start the storytelling pretty soon. Prepare yourself. Are you ready? Something is clearly happening here. Nobody knows what it is. The dog is being wagged.

Control knobs. Oscillations. What does it mean to be a human being? Carbon. Hydrogen. Nitrogen. Oxygen. Phosphorus. Sulfur. CHNOPS. A mnemonic device. A memory machine. In search of a rocky planet. Giant blue hypervelocity stars are defecting from the galaxy. Mind & body drops away. Well yes I am thinking… not thinking.

Protoplanetary discs are forming around young stars. Stardust accretes. Planets are born. I am thinking about this on Earth. The only planet with self-conscious life. As far as we know. What are the odds? What is the probability? What do you think of Fermi’s paradox? Hogwash, right? I mean, it is an intelligent observation. I just prefer to believe otherwise. Call it an instinct.

What if your brain is the greatest Space Telescope ever created?

Can you see?

Can you feel the stars?

Drifting. Drifting through the Cosmos. I am made of stardust. I am made of atoms. What keeps us together? Gravity? A few loose thoughts? This novel?

Earth pulls me back in. Stay here. Fix the leaking pipes under the sink. Read the newspapers about Baghdad Airport in Iraq. The extrajudicial killing of Iranian General Qassem Suleimani. The MQ-9 Reaper drone. Flying machines of death built by General Atomics. We could explore the stars. We could save the planet. 

Even Tucker Carlson is aghast.

What next.

How now.

Another Grateful Dead show?

Ignite a blunt. Eat a cupcake. Sip a coffee. Are you a veteran of the Atari Wars? Joystick in hand. Thumbing a red button.

Amerika is everywhere. Spreading its likeness. Absorbing. Repurposing. Propaganda factories manufacturing a reality. We are hungry ghosts. Eating. Consuming. Desiring. Wanting. Hurts to be a person. Particles colliding. Scattering. Into deep space. Into a void.

The gravity of a novel loosens its grip. We seek pleasure elsewhere. Netflix. A fuck. Roll & get rolled. Gasp. Spit. Palms under a buttock. 

You read Deleuze & Guatarri. 

A Thousand Plateaus.


Now, I am alert. Everything is an assemblage. You. Me. The cosmic machine. We are pinball wizards. Spiraling in a tilt-a-whirl. The flappers are flapping. The Roaring 2020s. 

On the edge of what?

It will be clear later.

When things settle. What things? I have no idea. I am the novelist. I know. I know. Uncertainty is my game. Who is on my team? I do not care about the Giants. The Jets. I sort of like the Pittsburgh Steelers. Because of a woman. I know. Not the greatest reason. Or is it? 


Love is a battlefield.

The winner takes it all.

I am a loser, baby.


The protoplanetary gas disc of this novel is starting to impress me. We are getting bigger. Absorbing the planetesimals. Creating a planet embryo. Giving birth to something new.

We expect.

We are expecting.


She is wearing her Steelers jersey. She is on her knees and hands. Looking at me over her right shoulder. Hut-one. Hut-two. Hike! We are making love. We are going at it. Looping and oscillating. Glimpse.

Really. Machine_a novel in progress. Who came up with that title? I did. Pilot of a Volkswagen Beetle. Zigzagging from one exploding star to the next. Planet formation is fascinating. The variability in solar systems is incredible. Hot Jupiters practically kissing the sun. Super Earths in improbable locations. Just like people. Just like you. Just like me. Here we are!

I lope through the day. Dragging my left foot behind me. My cock used to swell to ridiculous proportions. Now it looks like a shriveled worm. I need pills to get a hard-on. 

So it goes, says Mr. Vonnegut.

Are we on the edge of World War III?

Sure feels like it.

Every day.

Every nanosecond.

Does Amerika need a President? Does the planet need an Amerikan President? Feels too dangerous. The Cosmos is a dangerous place. Nightmares are electronic. What is real? What is reality? More or less is left behind. We build our lives out of cosmic dust. We orbit the Sun.

The wobble of a Sun can be observed from great distances. If there is a looker… a Seer. Someone must look. Someone must give a damn. Possess a curiosity. 

Peepholes into Space.

The city is a giant horseshoe crab next to the sea. Its metal retractable shell protects inhabitants from typhoons and sea surges. I operate the machine. I decide when to deploy the shell. It is a great responsibility. I cannot be wrong. Not with 88,888 human lives at stake. Yes. We are a small city. All has become so after the Event.

This could be its own novel.

A novel within a novel.

If I had the temerity. Do I? Hard to say at the moment. Joaquin Phoenix just won a Golden Globe for his performance in The Joker. Is this a performance? Of course it is. Am I tickled from eating oysters? Possibly.

My hand lotion feels & smells like Elmer’s glue.

I love you.

Why are you so distant?

So far away?

Orgasm as prolonged as possible. We lay on our sides. Breathing. Your thigh slung over my hip.

Memory gets in the way of progress. She salts it and gives me a suck. I am nineteen. Blowing sperm into her mouth. I feel her palm spread on my right buttock. I am standing. My jeans bunched up at my ankles. Pretty soon it is her turn. Skirt hiked up. Panty crotch pushed aside. She makes the low guttural groans of orgasm.

A plotted narrative is required.

Let’s move on.

I am here, in the night, under a sky. Everything is out there. Comets and asteroids. Intercontinental ballistic missiles. We are a mistake away from Armageddon. Perhaps closer than that. Everybody just says things. Punching nonsense into pocket machines. Posting as impostors. Pretenders. No human beings left. Ask Norbert Weiner. He wrote a book called The Human Use of Human Beings. Thomas Pynchon alerted me to this little masterpiece. Required reading for all automatons. Robot is a Czech word.

My back hurts. Bulging discs & herniated discs in my thoracic spine. I hope I can fuck again. Everything feels like the Beatles song “Yesterday.” I am here. Right now. Meditating my ass off. My hair is on fire. My nostrils inhale the Cosmos.

Easy tiger. A novel is a marathon. Long-distance love affair. You cannot have an American girlfriend and a European girlfriend. Yes you can. You just have to make sure you do not write about it in a notebook journal. Girlfriends read everything. Especially when you are at the tavern. 

Lightning strikes twice.

Sometimes thrice.

I am an idiot machine. A perfect storm. 

I make noise. A novel is a silent scream. Bursts of laughter. Awkward silences. I see through space and time. Pools of hydrogen gas. Gravity begins its work.

Where is everybody?


Fermi. You funny man.

The vector field is a transcendental plane or rather series of planes that act as an intermediary between the accretions and the umbratic. The vector field can be thought of as unaccreted pneuma. The physical vector field is that experience that phenomenologists often try to perceive as part of their systems: the Husserlian hyle, the pure sensation block that becomes differentiated into different things or as we will say with regard to the vector field, regions. It is that field[s] of existence that can be dimly be seen when try to pretend we don’t know that everything ‘is’ all the different things we see before us.

The most extreme visual vector field is the physical world as pure undifferentiated sensation, however the vector field has not entirely gone in effect on less abstract levels. True the spatio-temporal existence itself can be viewed as vector-field regions, however even when these are established, the effect is still present. When we enter a room and many of the devices in that room are unknown to us, these are now vector regions. They may have a broad scope accretion like ‘machines’ attached to them, but we may have no understanding of where one machine stops and where another ends. They exist in an unintelligible (incoherent) mass. Then the technician comes in and explains the machines, she gives me the names for the different regions and tells me what each one does. The concept (accretion) sticks to the vector. We say in this regard ‘this vector region was capable of taking this concept’ and mean that the word is appropriate to the thing.

The meaning of vector then is like that of a vector which carries a parasite, virus, bacterium. Vectors carry accretions and in the regular language of everyday life this is how language functions. Different regions of the vector field play host to different accretions. Many vector regions are capable of housing more than one accretion. A saucer is easily an ashtray. The vector region that takes the accretion ‘saucer’ easily also takes ‘ashtray’. Sometimes the vector region that takes the accretion ‘log’ can take the accretion ‘seat’. Found objects of unknown original usage still have their original accretion attached but it may then be covered over by a new accretion. The grammar of ‘really’ means ‘original’ but if the new accretion can be taken by the vector then it is just as equally this thing. This is all it means for something to be something.

Equally a different appearing object may house the same accretion. I might show someone an old device and ‘say this is a phone’ (this vector can house the phone accretion). They do not understand how this is true but then I show them that this is the case. They were trapped by the modern appearance of ‘phone’. Likewise the person from the past would not be able to respond to ‘pass me my phone please’ from an array of objects on the table. The black oblong lying next to my keys is a vector that they do not know is capable of taking the accretion ‘phone’. This highlights a feature of accretions in relation to vectors. In a given historical/cultural setting a given accretion is often attached to a vector region or range of similar vector regions that generate false essences. False essences are appearances that pretend to be what the object ‘really’ looks like. These contingent archetypes are often the way the accretion looks when one summons it to mind. Ideal forms like these are related to ‘incoherent coherence’, the apparent sense of definition which always masks the multiplicity of ways in which a thing might appear on three axes: the past, the future and the other (a different culture which might feature the same use-thing in a different form).

False essences as accretive images are the molar aspect of accretions as they struggle to maintain stasis against becoming. Furthermore as accretions exert a magickal effect upon the umbratic powers beneath the vector field, the act of trying to keep something in a particular form will have some effect. This is similar to the way in which false essences are related to the phenomenon of the double. The double is the way in which the accretion once attached to a vector, through the archetypal image (false essence) attempts to make the the vector more like the accretion than the original vector was. This is a process that necessarily goes on all the time.

Of course the vector field is not a purely visual/physical field. For this reason we can speak of the vector field having different planes that intersect, visual and physical being two such -as accretions might be visible without being physical and vice versa. The wind is a invisible region that is physical for example. Audible and olfactory can also be said to have their own planes. Some accretions cut across different planes, some exist on purely one. The planes themselves are of course also vector regions with accretions attached. The olfactory is an accretion that may be applied only to certain kinds of phenomena. However these vast accretions form planes by which a kind of heuristic may be employed. Smells can be learned. There are a myriad of smells in the world that we have often no knowledge of but could be understood. The undifferentiated or ill understood olfactory plane can have accretions applied to its regions. In sounds think of bird song, a twittering mass can be differentiated into individual refrains ‘does that sound take the accretion wood pigeon? No it is a collared dove’. The experiential world is filled with noises. The garbled noise of this plane too can receive greater accretive infestation. Vector regions can be analysed out and have accretions attached accordingly.

There is also the emotional plane. We have named the regions of the emotions. They can be named because the recur. There are rules for feeling and recognition. The regions are a fluctuating mass and their peaks and troughs are the accretions ‘happiness’ ‘anger’ ‘sadness’ etc. False essences occur here too, archetypal dominance is powerful and stasis of these natures encouraged. Small eddies of the emotional plane receive no accretion for their grammar is hard to capture. Sometimes we meet others who know these eddies and we name them together.

Possibly the most curious plane of the vector field is that of rationality. Does thought have a vector field plane? Of course ‘thought’ must have, for it is an accretion, it has a grammar. But the universal similarity of thought as accretion is even less reliable than the contents of the emotional plane, where at least physical displays are common as part of the attribution of the accretion to those regions (happy face, sad face). The action ‘I was thinking’ might be unspeakably different between different beings. But still there are operations of thought, logic for instance. Modus ponens as a concept, as an accretion is just one concatenation of thought that we do all the time. Incoherence does not destroy logic, it merely renders incoherent  the concepts that fill in the Ps and Qs. There is an action we can make that either fulfils the criteria to be called modus ponens or not, hence some kind of vector region exist for it. All logical sequences can have this said of them. What about maths? What is ‘plus’? A rule, an accretion that fits a vector of a certain action. As we explore this area it feels as if there is a suggestion that these mental actions are echoes of the physical plane. They are unbound accretions whose home is solidity.

What is language itself? A word is an accretion attached to a vector. There are the noises we hear between us by which we communicate. Every single word is an accretion attached to a vector. Every letter is an accretion attached to a vector. Scribbles, lines on a page. This symbol says ‘A’. See the symbol as vector region. It is nothing but lines, it plays host to ‘A’.

Everywhere a vector region, everywhere a host, everywhere an accretion.


Postulating there is no deity setting actual rules for existence (other than deities which are themselves vast hoary accretions, or potentially powerful pneuminous beings not of our creation, either of which would not be an ultimate being) what can we say about the ethical status of the accretions? Does this question even make any sense?

We believe there is some kind of commentary can be made on this topic, though it is difficult given that all human existence is a priori accretive (if we accept the theory). All the ideas in your ‘mind’, all the stuff you can see and hear, even yourself are all accretions of the same conceptual substance -pneuma. The commentary requires a kind of wondering. The wondering is something like this: is it possible that attaching too many accretions to the self (the neurotic accretion or NA) is in some sense negative? Again this is tricky because of the issue of value. In an ethical void, whether we exist as pneuminous beings bound up with endless threads to endless other accretions or whether we minimise the lines of connection seems to matter little. However there is the matter of the functionality of the organism. Is it possible then that weighing the NA down with endless accretive layers impairs its functionality?  This doesn’t really seem unreasonable.

Using our the recently developed D&G plug-in we can say that extra accretions are formed through intensities. Emotional attachments, patterns of behaviour, these are how it happens. Keeping things, holding onto feelings, being fixed in routine. If accretive theory is correct then these kinds of actions are creating actual accretions of pneuma that themselves accrete to the NA. Some kind of affect, some kind of will makes this happen.

It is easy to note systems like Buddhism eschew attachment (many religions touch on this kind of aspect) and in that sense encourage forming as few a lines as possible. What we find interesting is the tension between the poles of maximum and minimum accretive attachment. A truly minimal engagement with excessive accretions is often the aim of occult systems. The notion is that the accretions encumber the ‘energy body’ and thus reduce its capacity to be effective. This, in its harshest form, could involve separating oneself from even other persons in order to free oneself from the bonds both of our attachment to them and of their ability to pneuminously restrain us through their perception. At the other end of the spectrum is the pneuminous hoarder. Some NAs don’t know how to let go of anything , either emotionally or physically. Pneuminously these are near identical. A physical thing is just pneuma attached to a vector, it is the pneuma we are in contact with, not the vector. ‘Physical thing’ is just one more concept (accretion) itself, admittedly a deep grammatical one. Unbound pneuma (the contents of the mind) is just that, pneuma unbound to the vector field plane that gives rise to physical grammar. Emotionally charged accretions, either bound or unbound can be astonishingly powerful and the NA may feel it cannot separate itself from them. Artifacts, memories, places all can be accretively bound by intensity. Extreme cases of being wedded to endless accretive structures can be reasonably said to impair the well-being of the organism.

But in the middle of this spectrum, isn’t this where ordinary human existence lies? Accretive formations are a regular part of existence that humans generally manage to negotiate without lapsing into the hoarding pole -the other pole is generally perceived as less problematic and certainly not something one is likely to lapse into. What is interesting to speculate about in this regard is the role of capitalism in relation to our accretive relations. Mass production, endless improvement and easy replacement arguably have a negative impact on what could be seen as positive accretive relations.  Whilst it can be seen as unhealthy to be excessively attached to appliances, furniture etc, it is possibly better to have some kind of intensity attachment to such things as opposed to viewing them as purely disposable. Disposable is fine if the disposability can be dealt with, however we can see that this has not really worked out.

The point is that a certain kind of keeping things is not unhealthy attachment even if it can resemble it. Disposable and/or mass produced things mirror each other in their encouragement of the non-special. The keeping of and passing on things imbued with intensity is an important part of being-human. By this I again refer to something like the notion of Heidegger’s human. The human of the disposable is the post-human. The fantasy of freeing oneself from stuff (unless one is embarking on an occult path) is largely exactly that. You free yourself from stuff in order to passively accept the disposability of stuff. You cannot give someone a phone and expect it to be particularly meaningful. No one will keep it to pass it on.  But things like vases, plates, cutlery, rooms, tables these should be allowed to grow old (for humans to be humans -if they want to be humans) and be passed on.

In this sense capitalism gives the worst of both worlds. It generates attachment to stuff, desire for stuff. The accretive attachment becomes to ‘buying’ itself and the ephemeral status/feeling the stuff may bring. Capitalism gives no freedom from attachment to accretions like the sorcerer requires, attachment is still horribly present. But equally, valuing the stuff is lacking, for there is so much more where it came from. The attachment of affect at the level of what I have called being-human is missing.

Viewing things through the eyes of accretive theory can help to redeem some of the capitalist dehumanising. This is so because accretive theory says that the things gather what happened to them. Not just in their cracks and knocks but at the pneuminous level. Things accrete like we (NAs) do, it is a double process. Just as I become attached to it so it does to me and when I am gone my interactions with the thing are still there accreted to it. Disposability/mass production helps to develop the attitude that the things are all the same. Each thing has embedded in it its story in the pneuma.

None of this says what anyone should do. It merely describes certain relations under various conditions.


Accretive theory seems to have a similar feel to Deleuze and Guattari’s work. The way I see it is that accretive theory has very little to disagree with in what D&G say except that accretive theory has a strong sense of having something overtly correlate like about it, whereas D&G’s work does not. The pneuminous accretions are a correlate, they are all we have access to. Every description of non-human existence is mediated by human created accretive structures. These pneuminous structures are formed by humans but they not bound only to them. In accretive theory, the conceptual stuff (pneuma) is attached first to a layer called the vector field (unconceptualised perceived existence) and through this to the umbratic -that which is outside of perception.

In D&G language an accretion is largely a molar entity. Why? Because there need to be actual entities that can be named, that can be designated. Why? Because the appearance of magick is ineradicable (see agnostic disjunction). Wittgenstein’s later work is almost flawless. You can fill in more details but the premise is pretty cast iron. This is the click that people get and become Wittgensteinians: ‘meaning is use’. This pithy phrase provides all the machinery you need to understand in principle what’s going on in language. A word can only mean what it means in its use context. There is no designation as such. Words meaning objects is an illusion that confuses us endlessly.

This is perfectly fine unless you introduce something like magick into the picture. If the agnostic disjunctive argument works then the grammar of magick cannot be ignored and magick needs designation in the strongest sense possible. If I want to interfere with some individual, magick is expected to be capable of making this interference by possibly using only their name. Of course systems sometimes require body matter e.g. hair, but the name should be really sufficient. How can magickal acts tell who we mean? If this occurs then it must travel from the operator through the name (as part of that accretion) to the individual (vector) by the sheer fact that the operator knows who they mean by that name. It might not be the name, it might just be a mental image of likeness, yet still the connection is necessarily still their just by virtue of the fact that the operator knows who they mean. Image in this instance is also part of the accretion, to see such an image is as real a connection as if the person were right there because it is all the same accretion. Accretions mean designation is metaphysically real and that in  a sense objects really are certain objects. Of course it is possible to start using an object as something else, this process layers the pneuma of the new concept over the old one, yet it will not eradicate it, the pneuma of the old concept is still there: a saucer now ashtray, still has the saucer accretion hiding in there.

D&G also provide the useful term intensity. This can be used in relation recent ruminations on the will to give a way of describing why a magickal act does something where an idle thought does not. Magickal acts bring about a certain intensity. This intensity is the power the operator seeks in order to impose a new accretion onto a vector -as this is what magick is, the imposition of new concepts onto vector regions which may already be inhabited by more original accretions.

Now just because accretions behave like molar entities does not mean that the magickal thesis has eradicated meaning as use. It has not. The meaning as use relation is still always in operation and represents the ground from which the accretions form. Use relations reify into fixed accretions. Use relations are more akin to molecular becomings as opposed to the accretive molar. This relation is reflected in the epistemological characterisation of things as either incoherently coherent (accretion as molar entity) and upon analysis coherently incoherent (the bleeding edge of becoming).

Magick creates opportunities to create strange becomings in a very literal sense. It may be that D&G already acknowledge occult interaction however this conclusion seems far from clear -there are differing interpretations to their occult references. Pneuminous accretive theory says that all conceptual attachments to vectors are essentially magickal. Regular objects are accretions attached to vectors that perfectly fit the rules for their use. Hard things of various sizes made of certain substances (more accretions) take the concept stone. The stone accretion is applied to the vector and reflects back onto it making the vector in a minute way more like the accretion. This is just the regular action of the accretion upon the vector.

Magick occurs when an accretion is applied to a vector that would not normally take it. Intensity draws a pneuminous line (of flight) from one accretion and attaches it to the alien vector forming something new, not just in the mind of the operator but literally at the pneuminous level (which is partially independant from the operator). Their must be an intensity or the pneuminous line will not be drawn out. In this way I may have an umbrella purely and for the fun of it want to attach the concept of octopus to the umbrella. In this strange instance I must use some form of repetition of ritual to attach the octopus accretion to the umbrella. Now clearly the becoming-octopus of the umbrella is not in a sense in which the umbrella can participate by intensity itself, however their will be some interaction and the greater I try to forge the line of connection the more the umbrella will be (incoherently) wedded to the octopus accretion. Likely results will be some form of synchronicity regarding cephalopods around the umbrella but the actual nature of the whole assemblage of myself, the octopus-umbrella and its usage is really impossible to determine.

As confessed maybe this possibility is already inherent in D&G’s work. If it is though it certainly isn’t unambiguous. Accretive theory though is explicit that pneuminous lines of attachment are not simply psychological but represent points of actual connection between accretions, these in turn may alter what we call physical reality.