Last summer I did my first end to end reading reading of Deleuze and Guattari’s ‘Thousand Plateaus’. Previously I had only read sections here and there and fragments of other works (of theirs) so this was an edifying experience. As I read I began to notice the Castaneda references. These grabbed my attention as I had previously read Castaneda’s books some 20 years ago. Prior to reading them I had always avoided them assuming them to be some kind of new-age claptrap, however when I did read them I found them compelling and beautifully written (or at least most of them). I played somewhat with the techniques and found they actually did things. This was something of a revelation as my prior interactions with meditation and western style magic seemed to get nowhere. However interest waned, other things happened and slowly I forgot about this time.
So reading Thousand Plateaus was an incredible experience for two reasons. Firstly it was fascinating to engage with this book properly and secondly it seemed interesting how many Castaneda references were in it. To review these, they are:
i) In ‘On Several Regimes of Signs’ he is mentioned in relation to combating solidified mechanisms of interpretation.
ii) In ‘How do you make yourself a Body Without Organs’ Castaneda’s experience is cited in relation to the construction of the BwO, this too relates to the breaking down of interpretation and construction of flows and becomings. In the same chapter we also have a mention of the tonal/nagual dualism set up in Tales of Power where the tonal is everything cast under an organising principle of intelligibility (quite like pneuma in the accretive system variously detailed throughout the site) whilst the nagual is simultaneously everything but from the position of flows themselves, an ineffable a-signification that (arguably) also potentially, obliterates the restraints of space and time (this would correlate to the umbratic in the pneuminous system).
iii) In ‘1933: Micropolitics and Segmentarity’ the works are mentioned again in relation to the obstacles that Don Juan says stand in the way of becoming a ‘man of knowledge’. Don Juan here is given the illustrious comparison of Nietzsche’s Zararthrustra. The obstacles are: fear, clarity, power and disgust (old age in Castaneda). Fear here seems to be fear of existence of flows/becomings etc. Clarity is comprehension of the same. Power is dangerous as once clarity is achieved and movement is possible between rigidity and flow and second kind of rigidity re-emerges as threat, the power to control the flows at this new level. The last danger concerns the lines of flight and the possibility that they will not connect to other lines but instead will end in abolition. One might hazard a guess that the chance that the line of flight ends in death increases with age.
iv) In ‘1730: Becoming-Intense, Becoming-Animal’ in ‘Memories of a Sorcerer III’ Castaneda is invoked again. Here he is used to illustrate the progression of a sequence of becomings; becoming-dog, becoming-water, becoming-air. It also mentions an incident of Carlos being pushed through a door and reappearing in a totally different place.
v) In the same chapter Castaneda is credited with having effected a ‘broad synthesis’ of earlier 20th century comprehension of mind altering drug effects. In this way he makes a key contribution to the ‘drug assemblage’.
This Deleuzo-Guattarian connection gives Castaneda a connecting line to philosophy. This is the starting point for Parasol 6. It doesn’t mean that we want only DnG/Castaneda papers but here is the bridge. A beautiful synchronistic connection is of course the English translation of the the French agencement: assemblage. This brings immediately to mind what Castaneda no doubt thought his most important concept in his later work: the assemblage point. The assemblage point supposedly determines the reality we experience by lighting up a certain set of human luminous fibres at a time. The point is normally fixed, sorcery, dreaming, power plants etc move it and hence alter our experience of the world. The two concepts may not be directly connected -but on the pneuminous plane they are.
We must also remember that there are many non-philosophical adherents to the ‘system’ still in existence. There is a reasonable sized subreddit that seems to have some of Castaneda’s old students in it. There is a heavy focus in the group on a practice called dark room gazing. This basically entails silencing the mind and staring into pitch blackness for a long time. Many practitioners report results, often involving purple smoke but many other phenomena. Interestingly the criterion for the reality of the experience seems to be to test whether or not any coloured lights/smoke can me touched and manipulated. Participants seem to frequently report being able to grab such lights/smoke.
The big question here is of course, does it actually do anything? One could potentially explain most of the subreddit participants activity by saying that they are inducing hypnogogic images of a powerful nature. This is all very well except it does leave us again in a rather agnostic disjunctive situation. That is, smoke/lights that appears in the dark may be adequately described as a hypnogogic effect however this is identical to the appearance of the same phenomenon that is actually some kind of energy as described in Castaneda. We might at this moment recall another previous Parasol topic who reported almost exactly the same phenomenon. Wilhelm Reich claimed orgone could be seen by staring into the dark and that it would appear as a blueish mist. Such a description of course is not far from the darkroom gazers purple smoke. The agnostic disjunctive point (like in the synchroncity argument) is that in order to privilege the hypnogogic explanation we must know that this version of reality is correct. Since both accounts are simply what it would look like for that to be the case we cannot be certain that the hypnogogic one is correct, so when (as many do) they simply thing dismissal is easy they beg the question by assuming a version of reality in order to dismiss the phenomenon. The big question of ‘does it do anything?’ then is partially rendered inert by the agnostic disjunctive observation insofar as being able to induce such experiences in a sense does count as doing something (it has the appearance of some experience commensurate with the descriptions in the books).
This is my impression of these kinds of practices too, the satisfaction of them is that they generate such experiences which then can be interpreted in light of the Castaneda system or reduced to hypnogogic hallucination. The Castaneda system makes one thing abundantly clear though. If one wishes to develop these kinds of things into full blown weirdness there is no place for the agnostic disjunction. One must be committed to accepting the weirdness and not dwelling on its ontological nature as only under this condition will it properly be able to develop. And this is reasonable really, one can imagine that if reality really were sensitive to mental/bodily activity then one must temper the mind to maximise the result.
In the books Castaneda is pushed beyond any level of agnostic disjunction by events so bewildering he has no choice -people flying, teleporting, producing energy doubles. These kinds of events are not reported as replicated in the subreddit and of course one can quickly think, ‘because they aren’t possible’ and probably they aren’t. However there are plenty of mentions of phenomena similar to astral projection/OBE’s which, through the Castaneda system are interpreted as ‘accessing the double’ and there are plenty of reports of such phenomena successfully interacting with the world (not necessarily from the CC camp). This suggests that there may indeed be a kind of progressive link between smoke like phenomena and the ‘double’. This furthermore (to me at least) suggests a kind of open end to the phenomena that we may not know the limit of.
With regards to scepticism, the system suggests there is a kind of protective mechanism built into extreme weirdness for it is repeatedly said (when Castaneda asks such questions) that when an ordinary person observed such a phenomena they would not be able to see it. We may take this to be a convenient or plausible explanation in a similar agnostic disjunctive manner.
Two more points spring to mind in this area. The first concerns that well known topic from various strands of neo-materialism, speculative realism, hauntology etc.: the outside. The exit to the outside is an idea that comes up a lot. The outside itself can be split into a strong and weak version. The weak one being the scientific outside which potentially allows for at least our comprehension and possible somehow greater interaction with fields beyond the human whereas the strong Kantian version prohibits our ability to ever make contact with the noumenal realm. Sorcery (the Castaneda system) seems to suggest a third option. Sorcery would seem to align itself basically with Kant except that transcendental categories and pure intuitions would only be pseudo-transcendental. That is, the transcendental status would be true for every human unless one took the trouble to dismantle the categories/intuitions using sorcery. Then it would be possible to experience something beyond them. This experience in Castaneda’s terms is indeed the experience of the noumenal realm. That is, it suggests that the exit from the human security system (to Coin Land’s phrase) is possible, it’s just it takes more than copious amounts of amphetamine to achieve this. Secondly I think no matter how stable and functional our current scientific paradigm looks, we have to put aside our prejudices about anomaly in general, listen to the phenomenological picture, override the tendency that comprehension of things is within easy reach and consider our understanding of reality may yet be extremely primitive by standards yet to come. The appearance of spatio-temporal solidity may yet turn out to be erroneous as a flat earth.
Another aspect of the whole Castaneda affair that we equally cannot ignore is exactly the claims of invention. We do not raise these in the tired sense of lambasting him for lying -as Deleuze and Guattari point out, it scarcely matters if he did. No one can tell how much of any of it is real. This in itself is an incredible achievement. Castaneda may have pulled off one of the greatest hyperstitional ever. The power of the writing, the strangeness of the events, the endearing natures of Don Juan and Don Genaro all go to making an incredibly attractive world that people want to be real. The work minimally exists as possibly real which means it essentially is hyperstition. It’s a whole canon of potentially largely invented work that exerted and continues to exert a powerful effect on reality.
What my wandering writing here is trying to get at is that there are many good angles from which to write/create upon this topic. There may be more but I offer here:
i) Deleuze and Guattari as a philosophical entry point -though I can see non-philosophy can work quite well here too.
ii) Considerations of the practical aspect of the practices and the ontological/epistemological implications
iii) Possible connections to other theories (e.g. Reich).
iv) The meta-fictional/hyperstitional aspect of the work.
v) Considerations of Castaneda’s work in relation to the outside.
vi) Ontological implications of treating such work seriously -even without practical engagement.
Submissions should be sent into firstname.lastname@example.org
There is no deadline as yet, though 2021 itself roughly marks the boundary of submissions.
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.
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 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.
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.
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.