Dear reader, I want you to try a little thought experiment with me.

Given the vast literature encompassing human knowledge, and all the teaching and learning that go on in the world, you probably take it for granted that the languages we employ keep up with the task of articulating, representing, translating, recording, and communicating all that we need to. In other words—now that I have articulated that thought—you probably think that language per se is adequate to the task of consolidating the reality of the world, and not merely personal partial realities, but a bigger, in principle total, understanding of the world. We take the time, make the effort, and the language does indeed ‘keep up’.

Or maybe you have already begun to smell a rat and are willing to imagine the opposite, to imagine that language is inadequate to the task. Well, that is the point of this thought experiment. Take that imaginative leap and consider:

What happens when the reality one is trying to negotiate pushes the language to the limits of intelligibility?

I thought I would ask Gilbert Adair,[1] a poet renowned for his ‘linguistically innovative’ work, to bounce a few ideas back and forth with me …

Gilbert. Hi. …

GA

When the reality one is trying to negotiate pushes the language to the limits of intelligibility …

When the felt pressure of a ‘real’ one is trying to discern does that—so that. 

Never forgetting that (to leech on Olson) what is not poetry is the will to make poetry (altho’ who could call that ‘primary,’ because, you know, society & language)—that last phrase being idiomatic & “to leech on” also, probably, & the lack of a question-mark a (voice-inflected) nother. We teem w/ references, key ones being experienced as (different kinds of) knowledge & many potentially movable up there in a moment of recontextualized “Aha!” that may afford both a concern for a poem or poetic project & a glimpse of the real that will now make its recalcitrance felt to verbal approach while also being contingent on random haecceities of the poet. Specifics I talk. Yes, once your madness has been absorbed by history.

A case in point: What might aesthetic investigation of the notion of pidgin lead to—once you realize that the scholarly acronym for one pidgin (HCE, Hawaiian Creole English) chimes w/ old Here Comes Everybody himself or themselves; & that you presently live on Kauai, northernmost of the Hawaiian islands, & have experience of both Singlish (Singaporean English) &, I suppose, Irnglish (various operations on English as it moved into Irish sensibilities & contexts); & now have a truculently arbitrary means of linking Hawai‘i & Ireland in a 3-part project called h c e.

A pidgin, of course, is much more than an idiom or even a dialect, closer but cigarless to a jargon. The word likely comes from the Chinese pronunciation of ‘business.’ A pidgin is an ad-hoc cobbled together to enable people of disparate languages, cultures, & ranks to function in a variety of work situations: mining, mercenary, trade, shipboard, plantation … a discourse to facilitate proto-imperial coercion from the start, it was almost as soon one of subaltern camaraderie. (When it outlasts a generation—when parents pass the ad-hoc on to their children—a pidgin becomes a creole, a language in its own right.)

I claim no fluency in any of the Hawaiian pidgins (minor variations island to island). As a poet, I’m more interested in what can be glimpsed or grazed, startled into apprehension, via the potentially heretical notion of ‘a pidgin of one.’ The first two sections, h & c, have, among many other things, built a vocabulary of repeating words for use in e (standing, at least in my own mind, for english—or extinction—or emergence—or elder tree, etc) in a variety of fictional work situations, beginning w/ a trial, or mebbe only a trial. When I first came to Kauai, I could understand perhaps 30% of what one of our neighbors said; now I’m at around 70%. & section e as I embark on it is much to do w/ finding means of crafting relative meaning-opacities, given our experience of rushing-in aspects of the world is rather musical (audible, visual, ‘furniture’) than verbal & bearing in mind another of Olson’s remarks, this from his Mayan Letters of 1953: “Joyce … did not improve on … the Irish of the time the Irish were the culture-bosses, what was it, 7th–9th century, or something: he tried to get at the problem by running one language into another … more relevant to commerce, now, than … to the aesthetic problem.” We do run words together, & we like doing voice impressions. & Leopold Bloom, like the hero of North by Northwest (1959), is in advertising.

PP

We hit the poetics from the outset. That chimes with me, with my disenchantment with aesthetics, aesthetics in Modernity certainly. To reprise Olson:

… every element in an open poem (the syllable, the line, as well as the image, the sound, the sense) must be taken up as participants in the kinetic of the poem just as solidly as we are accustomed to take what we call the objects of reality; and that these elements are to be seen as creating the tensions of a poem just as totally as do those other objects create what we know as the world. (Olson, Projective Verse)

With the focus entirely on how the poem is made, the undertow is irresistible, pulling us toward the ontological sense of poetics. What mind and breath can draw together in poetry is a distillation of something occulted already in the mess of the mundane. Say to me: “what is not poetry is the will to make poetry” and I hear the philosopher breaking wind. It can be that bad. The will to make poetry is bound into precedent, principle, pre-existing lines of thought, … it beggars heritage and that is not poetry, but it is the ghost of an ontological poetics: “the objects of reality … create what we know as the world” (ibid). Olson invokes a contrapuntal logic; this is no mere metaphor.

Hence we come to where—take a breath—ontological reserves trigger the production of syllable and line, and do so reflexively to “afford both a concern for a poem or poetic project & a glimpse of the real”—concern for the former in the interests of the latter. But is the motive warranted and is it a genuine prospect? This brings us back to the original question.

If “a glimpse of the real” is “a genuine prospect” the implication must be that in the last instance language is adequate. Yet its recalcitrance impresses itself at every turn; the more the poet pushes and pulls the syllables into breathable lines and the more the vivid specificities that inhabit the poet’s reality, and that represent its most substantial reserve/resource, are brought into play, the more there is that can be said and must be said.

Thus words do not reveal the real, they (ad)dress it, they make a reality of the little that they grasp by fashioning fascinators (as/of/for things). The “random haecceities of the poet” are thus particularly pointed instances of necessary illusion. Self-delusion is not involved; the poet knows full well that they can keep scratching away at the surface of things, that they are expected to do so. Usually the more work the poet puts in the fewer words are needed to make a poem. The clarity of a ‘this’ does not reside in the words used to point to it, but it can seem to when great economy of means is achieved.

The problem is that economy of means may generate monsters. The real may intrude in the guise of an elusive essence, but that is passé for the poet today. Who really cares anymore for another way to say … “I love you” or “goodbye” or “I fear death” or “nature is mysterious” etc, etc? The ‘elusive essence’ is from one perspective a distraction, perfect for play and for time-wasting, while from another it is, through iteration, reductionist fallacy and to be resisted. What matters now are our entanglements, that worlds are at odds with each other, living hells, and the poet’s address in this case defies the distilling trajectory of traditional “clearing” strategies. Babel beckons, the retrieval of an originary linguistic mode that promises a gateway to the real.

So, playfulness and resistance (equally purposeful) define the poet’s dichotomy and confuse the answer to our question: in the last instance language is (in)adequate … which is it to be? There must be more to say.

Post #2 … forthcoming


[1]     Gilbert Adair—born in Northern Ireland, poet and critic, coined the term “linguistically innovative” poetry. In London in 1980 he co-founded, and for the next twelve years curated, Sub-Voicive, a series of experimental poetry readings. His most recent completed project, Syzem, a re-visioning of William Blake’s Milton, was published in two volumes 2014 & 2019 by Veer Books. He lives and works on Kauai, Hawaii, and his current project is HCE, which mixes a mix drawing on Spenser, Joyce, Badiou, Zizek, exile ambivalence, a more nuanced exploration of Christian morality than simply as rationale for empire, and the sonic architecture of Hawai’i Creole English.

The structure that we attempted articulate seems to have some relation to the work of Laruelle, though in fairness this is more coincidence than inspiration. The early description of ‘manifestationism’ always struck us as similar to his work. However ‘manifestationism’ never pretended to be anything other than a meta-philosophy and was never developed beyond a certain point owing to a paradox type problem. This being that philosophers became agents of the ontologies, or at least this was the preferred tack. However in making this the case one had to align the meta-theory with a particular ontological bias -something definite has to be asserted about the nature of the subject/agent, in this case, that the ontology is essentially of a higher order than the agent that works for it (the philosopher). The problem then is that manifestationism cannot ground itself without lapsing into a particular manifestation. We find there is still something attractive about the notion of philosophers as agents of ontologies and may well pursue this line of thought again.

Current considerations of Laruelle and Castaneda have somewhat reinvigorated this idea, or at least complemented it. For Laruelle, what I have called the manifestations are the philosophies that arise out of the one but are determined by it in the last instance, meaning the impenetrable one calls the shots on them but the converse is not true. Manifestationism had no transcendental one. The endlessly proliferating philosophies were caused by the agnostic disjunctive incoherence between them all. They did not require a transcendental extra, rather they formed a closed system which was basically kept going by scepticism about each other.

Castaneda’s (or Don Juan’s) insistence on mystery, emphasis on the occurrence of seemingly impossible things and resistance to any kind of theorising suggests something similar to the region that we wish to disclose. In making such a move though we stray even closer to Laruelle, for now we have a region closed off to theory from which all theory springs, which is of course very similar to the Laruellian one. The structure here though whilst similar is also different, for here we seek to feed paranormality back into the system without discussing it in any ontological sense, whilst the Laruellian project is more interested in showing the contingent nature of philosophical practice as a practice though arguably still retains the same hidden presupposition of materiality that most of the standard philosophical canon does.

An attempt at the level of ‘what is before’ has two potential strands to it. One is more akin to a Laruellian one insofar as it exists in a pseudo phenomenological space and operates as a transcendental to all possible philosophies. The other would involve reflections akin to those found in Lewis-Williams ‘The Mind in the Cave’. In this book cave paintings are theorised as being the nailing down of hypnagogic like imagery that may have appeared spontaneously to early humans spending time in cave recesses where darkness was absolute. Notions such as this point out a whole realm of experiences which the western theoretical mind will dismiss as not ‘real’ owing to this word’s near synonymity with the solid and continuous. This is not to be dismissive of such reasoning, of course this kind of thought has very good reason for thinking (to the point of assuming) this. The physical world does indeed appear to be solid and continuous. From this perspective of the before then, it is what we call now call the illusions, possibly also the marvellous sights (rainbows, light reflected through water onto rocks, glowing mists etc), powerful displays (thunderstorms, winds e.g.), hallucinations of any sense (for the sake of argument these would include the paranormalities: ghosts etc) and serendipities. If we strip these of our understanding of them then we can allow ourselves a glimpse of the prior. These experiences would all form a continuum with the solid and continuous.

Another example of thinking similar to this is found in Jaynes book on the origin of consciousness. The argument there is that the internal dialogue was previously experienced as an auditory hallucinogenic command voice. This bicameral mind, as he calls it mind was slowly superseded by modern consciousness which integrated the internal voice into its own understanding by the process of learning metaphorical language. We do not say (unlike with optical illusions e.g.) we now have excellent theories about nature of the internal dialogue, our best notions still turn on the theories of Vygotsky, however Jaynes argument is a related claim to our own insofar as it draws attention to possible ways in which phenomena which just ‘are’ were previously taken to be very different in a very fundamental way.

Of all of these what we come back to again and again are the issues surrounding the serendipities or synchronicities and how to conceive these in this more fundamental way. These are taken to be of maximal importance because these are the phenomena the most represent the possibility of reality at large altering itself in relation to the perceiving being. Even the most sceptical of us can experience a certain jolt when we are struck by a synchronicity (or coincidence if you prefer). If we quickly annul it with our agnostic disjunctive choice then we proceed with passive interest at the curiosity but not with the sense that something exceptional has happened. There is good reason for this of course. The alternatives don’t look appealing to many, there is either a kind of predetermined harmony, psychic awareness or reality altering itself around us to choose from.

In the prior there is no such theorising, there is no choice of ontologies. This state shows all these possibilities in a unified way. What we believe we have here is a world inhabited by powers that would be later classified as spirits but here are so continuous with it as to be unremarkable. The synchronicities themselves would be also nothing but normality, an expression possibly of the powers’ state towards the experiencing beings. And it is here we run into difficulties in this heuristic. Statements like the above seem to drag us dangerously close to a primordial theorising of spirits being linked to fortune. The emphasis we feel has to be on the ineffable fluctuating sense of reality that seems possible here, that makes possible the more ridiculed possibilities of psychic awareness or reality altering. The primordial experience that makes these now largely discarded possibilities has them in its living unity. This means there is a kind of push pull action embedded in it between the appearance of the solid continuity and the fluctuating reality of interplay between extended awareness, powers and actual alteration.

This  note forms part of an ongoing discussion at the CEO regarding a number of issues regarding accretive ontology. One such issue involves the possibility of an accretive typology of sorts. No doubt there will be more on this in the future, this whole discussion though seems to have unearthed a general movement towards recognising pluralities within the system.

What seems interesting as a possibility is to try to push the occult descriptions much further than the usual synchronicity area to see if anything can be gained from doing so. Let us consider animism with a serious eye. Animism fits well with accretive theory. The concepts of being alive are accreted to the various things such that they do indeed respond in certain ways. We cannot say what ways such things would be. What we do hit upon here is the modality of attaching significance to plant, stone, river etc behaviour as if it has volition. Such a belief requires connecting phenomena together in certain ways e.g. considering the swaying of plants in the wind to be part of their movement and stronger still than that, that such movement might be discernible as communication or some other kind of action. The wind itself could be viewed in such a way, the wind as a being with a volition.

Such perceptions are only possible under choosing the first arm of the agnostic disjunction ‘magick is real’ or ‘magick isn’t real’. However this choice is not as simple as the synchronicity option. In the case of the synchronicity the phenomena is overtly there as something strange. The event itself raises the issue. After the event we will decide whether reality can really do that in the strong sense (pneuminous accretive intervention) or if really it is just coincidence.

In the case of such animistic interpretations we do not have the same strong reason to make such a choice. There is nothing to prompt any upheaval of our regular interpretation of the inert unresponsive nature of things. To make the choice to do so seems insane and yet we have to be aware that the same issue with reality holds sway. Since we do not have an absolute understanding of reality we cannot say that inanimate things definitely cannot respond in some way. This of course isn’t really much good, it might be true but we have no grounds on which to believe it. The grounds however can come if one makes an experiment to treat the things around as if they were in some sense animate. Such a belief needs something like accretive theory to keep it from descending into indefensible nonsense. Accretive theory at least can give good grounds why anything can be imbued with some form agency if we attribute it to it. If then, we make an experiment of seriousness to treat things as if they had an, albeit incoherent, sense of life, then likely enough we will get some kind of synchronicitous or other like phenomena that seem quite remarkable.

At this point the agnostic disjunction can kick in with greater force to suggest that maybe there is something to animism (or accretive theory at least) because now we have an interference level phenomenon to substantiate it. Of it is a disjunction, we can still opt out. But now the appearance will be such that the strange phenomenon (whatever it was) may well be exactly what it would look like if animism were real, hence the appearance of the regular world and the newly discovered animistic one become equal. The discovery is something like a conditional proof in which we had to assume the truth of animism in order to make its possibility visible. Of course as soon as we do make any kind of acceptance then many ontological problems kick in. Given our habituation e.g. how it that wind and plants are not just contingently connected? How did the lake make the fish leap out at the correct moment to our talking to it in way that seemed beyond chance?

For these things to be actually strange and not just psychological projection we again need something like an accretive theory. This does not tell us the mechanics of how things work, for it is only a phenomenology, but it does say that a reversal occurs in such instances. That is, where normally the concept is determined by the vector, in these circumstances, the concept  (pneuminous accretion) manages to reach into the umbratic and alter it such that at the level of perception the (ambiguous) incredible is perceived.

Make no mistake this does unambiguously assume reality is much stranger than it seems. Such an acceptance seems to imply local reality fluctuations are perfectly reasonable that are often totally undetectable to others.  It also has the infuriating implication that many strange phenomena will not display themselves unless engaged with. This of course would seal the sceptics opinion as it would be literally impossible for them to enter such a world.

Note, none of this is an endorsement of animism or any other stance for that matter. All it says is that the appearance of the phenomena generate ambiguities which are not often impossible to close down (agnostic disjunctions). Animism is interesting because it does not suggest itself in the same way that synchronicity can appear as spontaneous rupture. Few would infer animism from synchronicity, but probably synchronistic phenomena would occur as a result of engaging with animism.

The umbratic is a curious intersection of different ideas. It is necessary and unnecessary. Its necessity is derived from the fact the idea cannot be removed. It’s lack of necessity from the fact it is technically not needed.

What is it? The umbratic is the idea of the unseen. It is the incoherent phantasy of being outside of perception. It is the wood where no one is watching or listening. The idea emerges out of sceptical thought that attempts to answer the question: is being that is perceived identical to being that is not perceived? The resultant inability to answer this question leaves the agnostic disjunctive appearance over the answer: we cannot say if there is a difference or not. The phenomena that point to there being a difference are again the occult ones. The point being that in synchronistic/magickal phenomena reality has shifted somehow outside of our perceptual sphere -we mean this specifically to the exclusion of the manifestation of spirits/immediately visible/audible phenomena (these invoke different kinds of concepts). That is, we do not see the mechanism by which magick/synchronicity has occurred. There is simply an uncanny rearrangement of things that has the appearance of some kind of agency being involved. This appearance is suggestive of a radical reality rearrangement that was only possible outside of perception, hence the invocation of the umbratic as a space in which the rearrangement was possible. Of course this doesn’t entail that magick/synchronicity could not still be functional in a metaphysical sense without umbratic rearrangement. Such possibilities exist as attractor models: the reality alteration is brought about metaphysically in some way by bringing certain things towards the protagonist without literal finger clicking alteration (such models also entail accretive type entities). However, the fact that the sudden alteration model exists is enough to give the umbratic life.

One can think on the impossibility of the umbratic, on how a space that isn’t perceived is not possible, on how there maybe always something there to detect, to perceive. But the impossibility of the umbratic is not enough to defeat it. It is a strongly incoherent concept that thrives on that impossible sensation of attempting to think what it is to imagine a space that is not being perceived. From here it derives a lot of its power.

The umbratic is related to the thing in itself. It is similar to a perfect scientific object. Something without any observer bias. This is part of its phantasy. But all prostheses act with our consciousness, there are no reports back from the umbratic.

We can try to do away with it. In the pneuminous theory we can imagine that there is only the pneuma, only the conceptual stuff. The umbratic, as mentioned, becomes unnecessary. But the appearance of the beyond the pneuma, beyond the vector field is still there, the phantasy of the outside, the absolute beyond the human security system. So a pure idealism always generates the idea of its beyond which it can never ascertain the validity of.

The umbratic gives the idea of structure. In the Tractatus this is how it is often mentioned. This association is related to the pure idealist issue. The appearance of the idea that there must be something behind the image invokes the notion that this part is what does the holding together. This is reinforced by the way in which the pneuminous level of concepts seems so easily detachable from the vectors. The pneuminous accretions can be unbound from the vectors and clearly perceived in the mind (a field of pure pneuma).

Does this mean the vector field and the umbratic are the same thing? No. Because it is possible to catch a kind of glimpse of the vector field. Phenomenological stripping down achieves something like this. But the vector field is still perceived being. It is like being without any accretions attached, or at least as best as we can achieve. However we can never be sure that there are not inbuilt structuring forces that mean the vector field itself is perceived as a limit, that is there is some kind of Kantian aesthetic holding things together even at this level.

The umbratic is darkness, literally. Darkness is where we cannot perceive so again the notion of the unperceived reemerges. This creates the curious identity between the space behind you and the space in the shadows. Seeing the shadow is the closest one can get to perceiving the umbratic. Of course a certain aspect of the shadow accretion means that it is totalised, that we simply understand it. But the ontological shadow is different from this. The ontological shadow reveals darkness to be the space in which the regular accretions of that shadow space are more prone to being taken over by different ones. That is, the umbratic is presupposed to be a structuring power that lies beneath the vector field. The accretions, the concepts, plug into the vectors, this unity makes our world of things. But the accretions exist unbound also and operate on their own unbidden by our conscious minds. The accretion has the power under rare circumstance to alter the umbratic. To do this is must alter an existing vector-accretion arrangement. In perception as it is happening, the feedback of the realness of the world enables the perpetuity of the solidity itself. But outside of perception it is different, outside the accretions imprinted on the vectors are in some sense still there, yet immediately there is a loosening. This loosening is what makes magick/synchronicity possible. This loosening happens in the darkness because ontologically the lack of perceptual ability facilitates the loosening of the solidity and interference from rogue accretions.

There is power in the shadow.

 

  1. Manifestationism
  2. Incoherence
  3. Phantasy
  4. Pneuma
  5. Accretive theory itself
  6. Design a god.
  7. Significance/Insignificance
  8. Designation
  9. Vector theory
  10. The Umbratic
  11. The Double
  12. The zone
  13. The numbers/the system
  14. NARP

1 (a movement)
To be god(s)-forsaken: to sense divinity, to stumble upon its signs (to have at least that one, memorable time, been a sign of divinity), but to have pathways elude you.

The outsider mystics, their painstakingly codified systems of (non-)knowledge found sometimes in both basements and attics, both living rooms and tombs: in all of their splendour and candour, in all their wealth, they are all predicated on a gliding, veil-piercing movement.

To know the movement (is to know that the veils are infinite). To partake in raptures, in instantaneous instants of being-taken, or being-wave-swept. To have mastered the technique of a burning point whose scintillations inaugurate paradox: the pendulous continuum; to live through methods of sense derangement and to lick the funkiest underbellies.

Never, however, to be invited onto the flights of ever-penultimate fancy about the likes of which you read in codices, in grimoires, in encrypted files.

In other words, to suffer through a god(s)-forsaken mode of environing: to be unable – when a glide occurs and a power is seduced into being-experienced – to harness that power, and to be incapable of fuelling with that power a mythopoeic (en)act(ment).

To choke on a ghost.

2 (wastelands)
To question whether they should have harnessed it and put it to work rather than tremble.

To remember that they have all remembered that ecstasy is in the gap, or is the gap – whatever one feels upon inserting one’s carnality into an other orifice – even if they would never admit the accuracy of ambiguity.

Iconophilia: to subvert encryption by loving the cipher; or by destroying the crypt instead of opening the catacombs of the alphabet. To be without a crypt, without a tombstone: to no longer be banished into absence and separated from a(n after)life of disintegration, dispersal, alien nutrition.

A wasteland may be a realm in decay, plagued by the incompetent rule of a limping king. In spite of that, a different wasteland: to squander is to sanctify. To be holy while being trash, intoxicated and meditating atop a pile of corpses. “I’m a poison worm, I thrive on poison.”1

To contemplate is to designate a temple space: a place for contemplation. To contemplate a system is to effect a (hypo)stasis. There are subsystems contained within metasystems which are simultaneously subsystems of other metasystems, but to suppose a system is to vivisect a preselected section of something not larger, but simply faster – to cut off a stem and proclaim it dead even as it sprouts new leaves, to ignore the fact that everything glitches.

To glide is to glitch. To fall off the map, but onto what territory?

Demons have been put inside the body of flesh, of earth, of all the elements. Angels are posited on the outside of these bodies. To move past these hypostases: towards non-spatial motion: towards emotion. To go neither demonward nor angelwards. To go awkward: in the wrong direction.

To collapse onto yourself is to receive the gift of the rift. Into the outer they have carved the inner, so that the inner seems to be inside, or in the middle of the world. Or: the map shows an exterior, an interior, and something in between, a middle realm: skin, membrane, the media realm.

Koanic query: if there is a middle realm and an interior, which one is more in the middle?

To collapse onto yourself is to receive the gift of the rift, the rift being the gap through which viral movements pass, and thus through which perpetuation occurs.

“Haunted by the idea of knowing what the key to the mystery is, a man becomes a reader of detective novels.”2 “Thinking of the key, each confirms a prison.”3 To write is to send letters from the bone prison of written word.

Quest: to perpetuate the possibility of sainthood in a god(s)-forsaken wasteland.

3 (to follow your sound tracks)
To grieve for reverberation in architecture, to fear its death in lived experience: to track tracks for tracks’ sake is paramount and tantamount to attending to voices in decay. To hear is not to listen, or are you always tricked?

Heteroglossia: those who voice themselves through you are many, but this can still be orthodox, which is to say homogeneous; all hail the spine spire. Heterodoxy: those who voice themselves through you are many, and they bring with them heterogeneity; are you sure there’s only one tooth per socket in those velvet, violet gums of yours? Alternatively, you may trace the curvature of a previously unknown rib.

To, upon speaking, scrape your tongue on the bristled multitudes that populate you. To recognize that you are a medium, a mediating body, a rift elemental. To reverberate is to be made of multiple echoes.

And yet, those (and many other) things: to unfurl like a budding fern, that is to say to reveal nothing but the unfurling, the movement; to trust that you have received a message in (y)our sleep – to challenge your world to warrant such trust.

If to abandon transcendence is to assume it has already been achieved, then to undertake katabasis is to exit existence. Existence: a fortress of hypostatic transcendence, an error which no longer wants to err. The bone prison.

Regardless, to pursue transverberation and attain the state of grace alongside which “the heart receives, it knows not how or whence, a blow as from a fiery dart.”4

To sustain transverberation is to be pierced through (a shiver is sent down the spine spire, a quake shakes the ouroboric ribcage). Subsystems within metasystems within subsystems within metasystems ad nauseam; a hypostatic body of echoes transverberates itself, inserts itself into an other orifice.

Labyrinthine metamorphosis: to glide is to glitch is to be pierced in a veil-piercing movement, which is not to say that it is simply you who are the veil. To say so would be to merely homogenise.

A machine carries on carving insides into outsides, and you cannot leave the machine without remaining inside the opposition of in and out that is now carved inside you. It is of no use to exit into or enter out of; the machine is still in order, powered by the ugliest myth. Gone, went to the other shore, or are you still swimming? Were you ever not swimming? Thus, to abscond (is often to sound like the reverberating decay of a high-pitched chime).

Question?

Note
To have ventured with the following companions:
Georges Bataille2 (a sorcerer’s apprentice),
Bruno Schulz (a mythopoet extraordinaire),
T.S. Eliot3 (a Knight of the Round Table),
Michael Kirkbride (a loremaster),
Ramprasad Sen1 (a goddess’ poet),
Timothy Morton (a dark ecologist),
Jean Baudrillard (a shadow dancer),
R. Murray Schafer (an ear-cleaner),
Hildegard Westerkamp (a soundwalker),
Saint Teresa of Ávila4 (a heart-pierced lover),
Dorothea Tanning (a sleepy alchemist),
Julia Kristeva (an investigator into the nature of milk skin).