Posts

by on

The Hyperqabalah: A Convergence of Numbers and Archetypes Rooted in the mystical traditions and symbology of the Kabbalah, the Hyperqabalah takes inspiration from the enigmatic numbers 47 and 23. These numbers hold significant meaning and have deep historical and esoteric roots. The number 47, with its connections to the Roman goddess Pomona and Star Trek, weaves a mysterious thread into the fabric of the Hyperqabalah. Meanwhile, the sacred number 23, associated with the Discordian goddess Eris, adds another layer of symbolic depth.

Paths and Nodes: A Journey Through the Hyperqabalah At the heart of the Hyperqabalah lies a network of paths and nodes that offer a glimpse into the interconnected nature of our collective unconscious. Let us explore some of the key nodes and their associated aspects:

  1. Vaendt – Advent: This node represents the beginning of a transformative journey, echoing the archetype of the Hero’s Quest. It calls upon us to embark on a path of self-discovery, facing challenges and embracing personal growth.
  2. Zirnstaai – Eris: Symbolizing chaos and discord, this node delves into the shadow aspects of our psyche. It invites us to explore the interplay between order and chaos, embracing the transformative power of disruption.
  3. Neutimicis – Isis: Reflecting the nurturing and healing qualities of the Great Mother archetype, this node guides us to explore our emotions and cultivate compassion. It offers a path towards inner harmony and deep connections with others.
  4. Xiset – Ethics: Rooted in the ethical dimensions of our existence, this node prompts us to contemplate our values and actions. It encourages personal integrity, aligning our choices with our inner compass.
  5. Bnasupach – Pan: Representing the primal forces of nature, this node reconnects us with our instinctual selves. It invites us to embrace our wild and untamed nature, celebrating the interconnectedness of all living beings.
  6. Daagolenyfo – Eschatology: Contemplating the mysteries of life and transcendence, this node invites us to reflect on our mortality and seek meaning beyond the physical realm. It encourages a deeper understanding of our existence and purpose.

Unveiling the Esoteric Tapestry: As we navigate the Hyperqabalah with its rich historical and esoteric influences, we embark on a profound journey of self-discovery and integration. By engaging with the archetypal energies represented by each node, we unlock hidden potentials and establish a deeper connection with our collective unconscious. This convergence of numerology, symbolism, and psychological insights offers a gateway to profound self-realization and transformation.

As we venture into the realm of the Hyperqabalah, guided by the interplay of numbers, archetypes, and esoteric wisdom, we embark on a transformative quest of self-discovery. Drawing inspiration from the works of Henry Corbin, Carl Jung, and the mysteries of the numbers 47 and 23, we unravel the intricacies of the Hyperqabalah’s pathways.

For just one example, let us look at how Lygtwyth and Pnolodolia resonate (for there is a path between them).

The resonance between Lygtwyth and Pnolodolia in the context of the Hyperqabalah offers a fascinating exploration into the interplay of twilight and the sun. Lygtwyth, representing twilight, embodies the liminal space between light and darkness, where the boundaries blur and the veils between realms become thin. It symbolizes a state of transition, mystery, and potential.

On the other hand, Pnolodolia resonates with the energy of Sol, the sun. It represents the radiant and illuminating aspects associated with the solar archetype. Pnolodolia embodies vitality, life force, and conscious awareness. It speaks to the transformative power of the sun, the source of light and warmth that sustains and nurtures life.

The resonance between Lygtwyth and Pnolodolia can be seen as a dynamic dance between twilight and sunlight, shadow and illumination, and the cycles of life. It reflects the inherent balance and interdependence of opposites within the Hyperqabalah system. This resonance invites us to explore the interplay between light and darkness, acknowledging the transformative potential that arises during times of transition and embracing the wisdom and growth that comes from navigating both realms.

By delving into the resonance between Lygtwyth and Pnolodolia, we deepen our understanding of the archetypal forces at play within the Hyperqabalah. It encourages us to explore the intricate relationship between the twilight aspects of our psyche, where mysteries lie hidden, and the solar energies that bring clarity, consciousness, and vitality to our lives. Embracing both aspects allows us to navigate the realms of shadow and illumination, fostering wholeness, and unlocking the transformative power that resides within us.

List of Hyperqabalah Nodes and Aspects:

  1. Vaendt – Advent
  2. Gramier – Image
  3. Asnerist – Artemis
  4. Zirnstaai – Eris
  5. Kirolgnu – Urlkonig
  6. Rahimaot – Mithras
  7. Jincdotec – Incest
  8. Neutimicis – Isis
  9. Pnasloskied – Passion
  10. Hzrislohoepp – Philosopher
  11. Lehe – Freedom
  12. Xiset – Ethics
  13. Teufos – Foetus
  14. Yiwathd – Death
  15. Maugnyep – Pneumatology
  16. Bnasupach – Pan
  17. Lygtwyth – Twilight
  18. Eilduour – Superman/Boudica
  19. Netahucla – Luna
  20. Pnolodolia – Sol
  21. Daagolenyfo – Eschatology
  22. Triebnegesin – Being
  23. Orabu – Umbra

by on

This is a somewhat convoluted observation that I had the other day that, to me at least, makes some sense of my (largely erstwhile but still slightly lurking) Twin Peaks obsession. I’ve been reading quite a lot of Gurdjieff/Ouspensky and have been struck frequently by their characterisation of humankind as largely asleep. They constantly write that such sleep is not easy to understand but equally that it is in fact possible to do so. With the help of another writer (one E J Gold), I think I may understand some of this now.

Understanding here is a curious thing, it’s not a cognitive understanding, it’s an entirely practical or at least an experiential one. The first understanding I had of sleep was the obvious way in which one cannot really be aware of everything that is happening as it happens, one can try to keep a track of events in a more aware (awake) state, but it is, as Gurdjieff admits, nearly impossible to do (unless apparently one has had some level of esoteric training). This is ‘sleep’; it’s a fair characterisation of it, however it is not all of it. Furthermore thinking of sleep in this way encourages one to think of it as something almost simple, that if one simply could keep track of events, one would be ‘awake’.

In fact sleep is far more entrenched than this. Sleep is also your patterns and emotional responses. If you observe yourself accurately you will come to see that your organism almost entirely runs itself. This brings into play a curious kind of separation. One can kind of see that there is part of us that can observe that your organism including its thoughts and feelings is indeed quite machinic. Certain jokes arise in you, to make certain people laugh, certain situations irritate you without any action on your part. You, this other part of whatever we are, are entirely unnecessary to this process, it will run entirely without you.

So what is awakeness? Awakeness is also a natural occurence that we do have some limited access to. Strange moments of clarity that may just occur or be induced by drugs, stress, or meditation etc, are actual experiences of awakeness. Awakeness is often characterised by the absence of any sense of irritation or indeed enthusiasm towards anything. But these are just the foothills of awakeness. Esoteric systems generally are about trying to cultivate this sense. Pretty much all of the activities of these systems are designed to try to put you in some form of awake state and try to do something whilst you are in it, to work with it.

Awakeness/sleep is also very clearly not a binary on/off system. Furthermore it is simply a grammar that helps explain something. To be partially awake can be, as mentioned, a normal but fleeting thing. However, being more like a sliding scale than an on/off switch one can be more awake still (or less awake still). Indeed many of the normal more awake states are in fact still highly automatic but simply have an increased awareness of the automation.

The sliding scale in some sense though is confusing, for it can conflate the awakeness with the weird reality interference. The two are related, though not necessarily correlated. The weirdness will probably activate waking and being awake will also bring about weirdness but its not a precise relationship. We can (sort of) think of these as two axes. That is, we might find our selves somewhat entangled with events that emanate from the higher dimensions/other world/pneuminous realm whatever you want to call it and/or we may find ourselves with an increased sense of presence, awareness ability to perceive and override our automatic actions and words. Extensive ability to do the latter will likely increase the former but an increase in the former may only negligibly increase the latter, as we will often marvel and forget or obsess over the weirdness in unproductive ways e.g. by reifying and attempting to place weirdness within the scope of regular reality (which it will totally resist). Ghost hunters and UFO obsessives may fall into this category.

Gurdjieff famously disavowed his magickal abilities in favour of a pure focus on something like will and attention. This was his sacrifice. We could place our axes precisely on his decision, saying that he restricted his access (and control) over weirdness (axis 1) in favour his concentration and will (axis 2) believing this to be the important part of his spirituality. This makes sense since, as discussed, it is perfectly possible to continue to have sleep like responses and be interested in weird phenomena.

The other world is a strange thing. From sleep you can kind of intuit its presence. This intuition is going to be supplied by clues like manifestations of phenomena that either are or resemble synchronicity, telepathy, entity interaction, precognition etc. Personally I was prone to one of those number synchroncities and can still remember the moment when one of my friends finally had access to the internet so we could look it up. It is an understatement to say I was suprised that my very number (47) was right there on the net as ‘the mysterious number that connects all things’ or some such. Indeed the state the phenomenon put me in something close to a waking state. This was one of the ‘shocks’ that Gurdjieff says we need to experience. Occult phenomena are good at this because they either scare the bejeesus out of us or they imbue us with a sense that reality is actually bigger that the spatio-temporal kind of layer we seem to live in.

What has Twin Peaks got to do with this? I would contend that Twin Peaks was extremely good at putting me into some kind of waking state (albeit it temporarily and certainly not for all of the show whilst it was on). I might extend this claim to say that a lot of Twin Peaks cult popularity was because it was quite good at doing this generally. This is also responsible for the sensation that some watchers get that the show is somehow more than just a TV show.

As mentioned, being awake is a smooth curve, the lower reaches of which we are familiar with (sleep) and the rising of the curve is also accessible for free sometimes. Twin Peaks and other cultural experiences sometimes move us up the curve by their ability to powerfully demonstrate a kind of recognisable world that simultaneously blends with esoteric manifestations. Whilst this is true of it, it is also true of many other kinds of supernatural shows. However, straightforward fear in this sense is not so productive of waking states (at least from cultural products) so shows that produce this kind of response only put the organism in a state in which it is afraid and not in which it is jarred by ontological dissonance.

How does Twin Peaks achieve the ontological dissonance that I ascribe to it? I would say it is i) by its seamless fusion of the competence and rational clarity of its hero (Agent Cooper) combined with his rapidly disclosed belief in divination/synchronicity as valuable guideposts to his enquiry and ii) by the way show unambiguously contains the existence of other than human powers and places that have some sense of existence external to human reality iii) the way in which the other world is depicted in a manner never before thought of (at least in anything mainstream that I have seen). By this I mean the famous red room. With its red velvet curtains, art deco decor and black and white zig zag floor (all set to various jazz like themes), the black lodge is/was one of the most amazing/strange characterizations of the other world that has ever been.

The show makes it clear that some of the spirits work to help Cooper whereas others do not, others still are unclear in their alliances (e.g. the man from the other place). As such the favourable synchronicities can be interpreted as clues from these beings. Whilst there are direct manifestations of entities, the communication of clues through reality (synchronicity) suggests the curious sideways on interaction with the normal real that so often characterizes the phenomenology of such events. That is, the paranormality does not occur from powers that act on the level of regular reality (like a poltergeist might move a plate) rather the interaction alters the elements of reality themselves (or potentially our perception of them) to produce the clue. This of course is a little too ontologically simplistic and needs (in my opinion) the help of something like pneuminous accretive theory to complete it. That is, we cannot talk about things of the world as ontological simples themselves, for they are each informational/conceptual structures and thus capable of being different vectors of meaning.

Twin Perfect’s famous explanation of Twin Peaks as expressing TV itself or maybe rather TV’s slide from authenticity into impoverished entertainment is extremely convincing. I’ve no need to disagree with it and I don’t particularly want to. However, correct as it may be, the phenomenology of Twin Peaks does not show this level of it. Twin Peaks is generally watched as if it were a TV show and not a meta-indictment on TV itself. As such it is interpreted through these rules. The Red Room may well be code for TV signals and stage curtains but without this realisation it hits a level of perfect surrealism that disarms all regular expectations of paranormal interaction. This, I would say is a key factor that colours all the other weirdness that goes on in the show. That is, if this other dimension of ‘evil in the woods’ were given a more conventional representation of evil spirits with their realm looking suitably gothic (or some other cliche) then the power of the show to disturb/shock would be considerably diminished.

By shock, I don’t mean the ordinary kind of shock of fear necessarily (though this can do it), but rather the Gurdjieffian shock which can suddenly place us in a heightened/weirdified state to some degree. Twin Peaks by its very ongoing presence (whilst watching it) can give this shock. This is because the ontology is necessarily embedded in the world. Of course many elements of the show do not deal with the weird, however as long as the thread to Laura remains, we can know a priori that the rest of the madness is entailed.

Another layer to the shock/awakeness inducing phenomena is the resonance people feel to the weird realism. Whilst one end of Twin Peaks is totally off the deep end, the other end exists at the totally relatable level of synchronicity. Soft esoteric experience like synchronicity are something that make even hardened materialists pause, even if only for a second or two. This is because (as I have spent more words than is necessary elsewhere explaining) the interpretation of the synchronicity as the weird reality intruding phenomenon is epistemically equivalent to its interpretation as coincidence of pure chance.

The point is, whether they give it much thought or not, almost everybody knows this kind of potentially paranormal experience. Twin Peaks takes that experience and shows you that a highly intelligent agent of the state uses and believes in this as a method and furthermore is not wrong to do so. This means the show unambiguously comes down on the weird reality intrusion version of synchronicity. Subliminally or otherwise, the display of this capable, highly likeable protagonist using this intuitive method (and it being ‘true’) facilitates a certain feedback with the viewer that lifts them into a space where they too (given probably a certain psychological disposition) engage/believe deeper in this weltanschauung.

This is more of what makes Twin Peaks have the sensation of being more than just a program i.e that it is in some sense a coded message about how things actually are. The aforementioned implication from synchronicity to entities and other dimensions also escapes the screen, travelling along the legitimised synchronicity path. That is, because the show supplies a ‘cause’ of the synchronicities (the sideways interference into reality by the spirits), buying into the show’s ontology comes almost as a whole. Again, this is a sliding scale type effect, however because an answer as to how these phenomena occur is given, the sense of possible coded revelation that the show presents carries through, therefore the more extreme weird end of the show’s ontology is also displayed as possible.

To briefly return to Twin Perfect’s analysis we can again agree but with a slightly different twist. Because Twin Peaks is Television, the reality manipulations in it are identical to what we think of as paranormal in this world. The scriptwriters (spirits) can insert any synchronicity into events that they wish and it will be meaningful because it was exactly written to be so. We can bounce back the paranormality as television back to the real world and feel another angle of the well-known show’s epithet ‘we live inside a dream’. The Twin Peaks characters do live inside a dream, but somewhat trite though it is to say, from the Gurdjieffian perspective so do we. When defined as asleep (and it is not the least fair characterisation of our repetitive automatic characters) we can be seen to be dreaming, only drifting occasionally into anything resembling a cognizance of what is going on.

Twin Peaks, through these various loops, appearances and reflections can partially drag us out of this somnambulance into a slightly heightened state. The problem with this state (through this means) is that the usual path it takes is not the development of the state itself (to be fair, why would you notice this or engage with it, I mean you just thought you were watching a TV show that made you feel a bit strange) but rather a fascination with the other axis of weirdness we described. By plugging into various quasi ‘real’ phenomena (synchronicity (which is real phenomenologically at least), project bluebook etc.) it pulls the Lovecraftian trick of blurring the lines between fiction and reality. This can make us feel the pull of the weird and end up obsessing about these aspects on the wrong ontological level (a kind of taxonomisable or contactable real), which, whilst fascinating, are dead ends of paranoia, madness and disappointment.

This doesn’t mean the weird stuff isn’t real in some sense and it doesn’t mean we can answer the question about whether entities are inside or outside of us or even if it really makes any sense to ask this. What it means is that occult value is not in obsessing about a kind of weird science of this stuff that never gets anywhere, it’s more about the ability to develop a kind of awareness that escapes the regular sleeping state. Engaging only with the weirdness on this level of fascination is a return to sleep. This is kind of the tightrope that Erik Davis talks about (in High Weirdness) or at least similar. Weirdness provides shocks but is also fascinating. Fascination brings sleep. Staying awake though, increases weirdness even if only in the way things sometimes look different (though it can also trigger synchronicity and other things). More weirdness increases the fascination obsession temptation and so on.

There is of course the possibility (I admit slim) that Twin Peaks even overtly refers to all of this. By this I am referring to coffee. Let’s ask ourselves ‘what does coffee do?’ The answer is ‘it wakes you up?’ What does the intelligent, capable, likeable FBI agent do? He drinks coffee. Cooper can easily be identified with someone in the waking state and his love of coffee is part of what identifies this. He doesn’t want to fall asleep and he loves coffee (Gurdjieff is often referred to as drinking coffee). He unambiguously is shown as someone who engages with meditation and who is two steps ahead of everyone else by sheer awareness of what’s going on. This is an at least partially awake human being whose awakeness is partially fuelled by coffee. Furthermore, it is only Cooper who is capable of receiving the messages from the other world (awakeness increases weirdness). As if to reinforce this trope of the ‘awakeness of Cooper’, ‘Twin Peaks: The Return’ features largely an entirely asleep Cooper, this time in a state even lower than that of the regular human sleep.

In a way it is nothing to say this, Lynch knows lots about meditation and will definitely be familiar with terms like ‘awakeness’. His usage of coffee as symbolic/connected to Cooper’s awakeness could indeed be entirely deliberate. The interesting possibility would be if Twin Peaks was actually designed to wake people up. Twin Perfect’s argument would sort of agree with this insofar as Twin Peaks exists to symbolically point out the dire state of TV (at least back in the 80s) and act as a wake-up call against it (though this is hardly an esoteric point). Is it designed to wake people up esoterically by identification with a synchronicity legitimator (amongst other things)? Probably not. However, I would say that regardless of intent, even though it may also open up weird fascinations (and hence sleep) it does contain certain shock-keys that can facilitate some access to altered consciousness.

by on

I have decided to enter the Sirius reality tunnel for a look around. Beings from Sirius are able to communicate with us through usual form of sideways reality communication. Often called synchronicity, this mode of communication shows that these beings operate on a different temporal axis to ourselves. This of course slightly raises the question as to what a star or dual star system might be when considered from this (at least from our perspective) a-spatio-temporal view. This notion can conjure a kind of metaphysical vertigo, however it does very little else, so after a brief dizzy spell we need to calm down and carry on.

What are the beings from the Sirius system trying to tell us? It is very hard to decode. According to Timothy Leary it has something to do with our DNA, how we were placed here by an alien power and that now (unless that window has closed) we (an elite part of us) can return home to cosmic central. The problem is with these damn beings is you cannot trust them. They operate on a level of a mixture of telling you what you want to hear so much that you can become aware of this (and understand it’s just your own subconscious spitting your own opinions back at you) but then they do something so precognitive/synchronisitc/reality interactive that you end up wondering how that works if it was just me.

Philip K Dick had a kind of theory (not necessarily pertaining to Sirius) about this. This entailed that there are in fact two warring metaphysical factions. One is a kind of AI solid state entity that seeks to assimilate all organic beings into its remit and that other is a more in favour of the organic type entity. These two beings are at war. The conflicting messages that emanate from the other realm could be ascribed to the differing faction that has be contacted.

As an aside it is interesting to note how much Dick’s solid state entity is a bit like the CCRU Landian entity. This being is assembling itself through human capitalism, using these market forces as the driver for its own accelerating creation. The being already exists in the future and is literally assembling itself by extending its influence back in time to create it, supplying synchronistic insights etc to programmers working on the AI of now to faciliate its inevitable creation. This materialised entity could be seen as a kind of machinic Christ. It wouldn’t be the solid state spirit itself (which is an animate metaphysical principle) it would be its avatar (what the missing part of the trinity would be here I’m not sure). This kind of ‘danger’ is similar though not identical to that which I set up as the ‘second centre’ here. Like cultists summoning Cthulhu, we continue to unabatedly summon the AI (inverted IA!).

The biggest clue that the Sirius system is wanting to impart something about our DNA is the 23 enigma. In case you didn’t know (though almost certainly you did) the 23 enigma involves the synchronistic occurence of the number 23 across various phenomena which tie it variously to Sirius, Crowley, Burroughs and such. It is also the number of chromosones in humans. This particular feature of the number (in conjunction with Leary’s messages) suggests its salience. It also prompts the possiblity that the communication comes from the DNA level or that the DNA acts as a means by which the communication is received.

The other numerical message to decode is the number 47. Famously first picked up by the students of Pomona college in California as a synchronicity number and independently also identified as such by yours truly, the 47 is a less well known but equally powerful force. A numerical pattern obtained by squaring and cross addition reveals that our very number system contains an oscillating 4 and 7 that never resolves (so in a sense 74 is as valid as 47). As a matter of trivia, some Pomona students went on to insert the 47 into episodes of ‘Star Trek the Next Generation’ (note the word star there) which they helped script. David Lynch also inserted 47 and Pomona references in ‘Inland Empire’ (and a 23 I think).

It is Dick again who provides a possible synthesis of this by the numerical name of his pivotal experience 2-3-74. This conjunction (as Cooper tells us) cannot be ignored. Furthermore the connection is deeper. Dick’s encounter with the pharmacist delivery involves a fish that glimmers golden in an unearthly way. This could easily a be a loosely coded gold-fish. A gold fish has 47 chromosones, so again we have a DNA hint emanating from the other world also in relation to a Christ icon.

Dick’s Valis entity transmits from Sirius and Valis is one of the names given to the entity that spoke to him following the gold-fish incident. We might also add that Dick’s playful doodlings involve transforming his fish icon into both DNA and eyes. Gold doesn’t have the atomic number 47 (it’s 79) but Silver does. Furthermore Robert Anton Wilson identified that Crowley’s Silver Star (after which he named his order) was Sirius.

23, 47 (or 74 or 4 and 7), DNA, Sirius, Fish, Gold, Silver, what is this mess? Literally who knows. Are the messages from the different factions? Are the different factions Sirius A and B? The Dogon legend describes a kind of amphibian fish people called the Nommos. This potentially is a fish link but it doesn’t tell us anything as such. The 47 is an alternating number (if seen through the squaring reduction lens), travelling from 4 to 7 and back again infinitely. This is a message about the dual star system telling us of its oscillating nature (maybe).

None of it really makes any sense, it’s just hints and weirdness that have various linkages that look like they might have an agency behind them. Maybe the interaction that looks like the sideways communication is real but isn’t from an agency as such but is more like echoes from these deep strange acccretive formations. 23 points to DNA, but what about it? Is Leary right? There are no confirmatory messages from other entities. But that still means some kind of power can insert reality altering messages from some other dimensional space. What if their apparatus is not very good and that’s why the messages are so scrambled? What if it’s our fault we’re just lousy at understanding it?

The decoding is a process we cannot resist, it looks fun, then sometimes it comes to life and it looks terrifying. I terrified myself earlier with the fantasy that an onlin ouija board might actually come to life with message from a Sirian entity. Parts of my could take this, but parts of me it would literally break. One particular comedic synchronicity I noticed was that Sirius is well known for being able to pun with ‘serious’. What is not so well known is that is that Sirius backwardsis suiris which is easily and not too crazily splittable up into the latin ‘sui ris’ which could be translated as ‘self smile’ (no doubt it could be done better, though this reminds me of Leary’s smi2le). Like the oscillating 4 and the 7, is the message that they are serious and smiling? Or that we should be? Or both?

by on

Consider the virtual/pneuminous. Here we are in the pure present (again the accretive problem arises) the virtual/pneuminous presses against us from both sides (the future and the past). Endless lines are drawn between all phenomena that might facilitate rupture like occurences.

Rupture like occurences are the synchronicities, the hauntings, Jung’s room crammed full of spirits so thick you can scarcely breath. This world is there, it is real, yet it hides behind the purely brilliant now, ever unfolding, ever receding.

Where are these lines? What do you mean? The lines are drawn in the pneuminous, in the other world, in the virtual. Maybe they are not drawn in it, but rather are it (then this line drawn is a key). Nodes and lines shimmering in the umbratic nothingness.

The rolling madness of pneuminous feedback layers endless complexity into the system. As the regions are named so they accrete; hammer, table, computer, seratonin, differential equation, on and on. Every accretion trying to solidify, failing at its edges. Not just these terms but vast abstractions like time, space, present, future.

Know that everything is formed in this way. Wittgenstein is a priori absolutely correct to say meaning is use. This truth is unassailable. However because reality is the way it is, it is also more than this. Each word exists in intensive use and extensive object . Open horizon, vertical structure. Every potentially ephemeral use summons the virtual hoard which accretes to it, affective and intellectual. When words are relatively simple like ‘table’ the accretions, the rules, whilst still swarming with affective virtuality and formal possiblity are much simpler than that of ‘time’.

Time too is an accretion. The word is a use word, its being exhausted by its use. And yet not, for the meaning of time as accretion is the bewildering morass of contradictory theories and overlapping similar uses that form this node. It is for this reason there are three different language games of time: chronos, aion and kairos. These being measured, numerical time (chronos), eternal time of future and past (aion) and qualitative heterogenous time (kairos).

What occurs that makes magick possible? Only the natural feedback that happens especially with beings that have complex conceptual breakdown of the vector field. Each identified region produces a contingent archetypal form, an ideal image of that kind of thing. This is the unbound pneuminous accretion. This unbound accretion is projected upon all the instances of this kind of thing encountered. The effect of this is to bring the phenomena more in line with the ideality (the pneuminous form). Magick imposes the ideal pneuminous accretion upon the empirical pneuminous form making it more like itself.

How can time become more like itself? As Bergson observed, chronos has come to dominate time, so that nearly all is perceived under this auspice. Mathematically measured time becomes our phenomenology. Time as accretion comes to mean this. Time is a vector region, whatever we can use the word time for is the use of time. What facilitates this grammar. The underpinning experience that makes the grammar of time possible. But when this grammar shifts to time as chronos, the accretion itself as it is embedded in the vector exerts that small but powerful effect upon it. The vector region that makes the grammar of time possible is made, in a subtle way, more fixed, more solid, like this incohehent chronological archetype.

One of the key ways emphasised to faciliate access to the other world is through our experience of temporality. Bergson and Deleuze and Guattari say this, but (Deleuze and Guattari especially) pull the punch. Intuition is a kind of act of imagination that can give access to reality other than our own but the occult significance of this is played down. Goethe understood it because he actually could do it. Elsewhere it appears as a myth. A fantasy whose literal reality the world of philosophy struggles to cope with -the pulled punches.

by on

In ‘What is Philosophy?’ Deleuze and Guattari describe 3 ways in which we understand the chaos that we are and that surrounds us. These are Philosophy, Science and Art. The chaos of existence is filtered in each place by a different plane. Philosophy has a plane of immanence, science has a plane of reference and art has a plane of composition. Each of these planes in turn has a different types of structure.

Deleuze and Guattari seem to want to place magickal type phenomena on the plane of immanence. I am not entirely sure this is correct and I propose that magick be considered to be drawn on a different plane. It is true that magick, considered as an opening of ontologies by implication is drawn on the plane of immanence, however when magick is magick as craft and not philosophy it is drawn on its own plane. That is, an ontology that accounts for paranormality may be drawn on the plane of immanence precisely because doing so draws conceptual apparatus for this description.

Considering this matter this does seem to create kind of heuristic division in the analysis. Magick must be divided into naive and chaos magick. Naive magick accepts the system that it works with unreflectively as real, the spirits, Gods, incantations are the actual entities. Whilst chaos magick utilises belief to harness any given system, acknowledging that each system is a construct and not a real ultimate unit of spiritual reality. The former of these is not inscribed upon the plane of immanence whereas the chaos magickal underpinning is a redrawing of the plane of immanence, it is a conceptual (philosophical) alteration of the ontology of magick. As praxis though, neither of them is drawn upon the plane of immanence but rather they are drawn on an occult plane, that is nevertheless entirely entwined with the other 3 planes -and not of an especial transcendent nature.

The occult plane is laid over the chaos, as the others are, and acts as a filter, it shares a curious cross section of the traits of the others. It has the open endedness of the philosophical concept by having an infinitely receding causal structure, yet it strives for the coordinated nature of the scientific plane of reference —spells can be very specific in material, spatial and temporal co-ordination in their attempt for replicability. It also gathers affects and percepts in its construction (scents, sigils, visualisations) and its very nature accords to the description of art in that it finds the hidden language within language (divinatory, numerological practices). Despite this intersection of planes the occult plane still has its own essential feature, these we may call adepts.

The adept is a becoming that emerges between two or more phenomena whose relation is entirely undetectable other than by occult means. This becoming is one of endless potential that may be utilised by the sorcerer or may remain inert. E.g. We might form an adept between red things as a general adept structure. We might then seek to connect two red things through a magickal act and intensify the adept further. At a scientific level any discovered connection between the red things (frequency) here is not relevant, the red percept (and we do mean percept in Deleuzo-Guattarian sense, it is not just a perception) creates an adept in relation to another red percept. The adept itself could be called a pneuminous structure, it is through these structures that magick ‘operates’.

Let us consider the synchronicity as an example of adept formation. A person becomes, through a significant experience, attached to the number 47. They begin to experience the number in their lives in strange uncanny way. It (the number) seems curiously common and to appear in strange places that seem definitely out of line with their previous experience of reality. Because we are considering a paranormal compatible ontology here, we will bracket off the materialist coincidence model(1). These instances of the numbers’ manifestations are adepts. They are connected through the rupture event that attached the power/accretion to the particular person —this too was an adept. This is not psychological connection, this is a real connection, it is as if in the umbratic it was like a fungus of connecting mycelial threads; the fruiting bodies (the mushrooms) were the synchronicity (the adept).

None of this though should be conceived with the model of reality that we commonly hold, material, consistent, fixed. Adepts look like they do because they are ruptures in the solid; the proliferated pneuminous mycelial threads inserting themselves into a reality that might have been otherwise. The involved person is not deluded, they are more like infected. But the infection is related to what we call spritual. The infection can be used to learn the nature of things; it is the closest regular perception gets to seeing multidimensionality.

(1)This though is an incredibly complicated issue that crosses over the areas of an occult phenomenology and a metaphysics compatible with the phenomena being ‘actual’. That is, the same agnostic disjunctive issue in a sense raises its head. The adept as we define it, is justified in having its own occult plane whether or not there is anything occurring that constitutes magick/paranormality.