Character of Being

Bronx, 1970: Black Hole Physics, Punk Rock & the Distillation Sink of Pure Revelation

Oct 17, 2025

[]

[]

00:01

So when I’m working with history, I’m describing aesthetic qualities. I’m describing characters.

And what we witness when we look at history are replications of the grand cosmology of the universe itself. And one of the most difficult things to understand in a fractal sense, super cosmologically, is the paradigm of the black hole.

And so what I suggest from a theoretical physics position and standpoint is that space-time and relativity give us the perspective… due to the myopic vision of humanity and the species, that we are living outside of or beyond the event horizon of a black hole.

But this to me is a non sequitur because in so far as we are in proximity to a black hole, which is to say in so far as a black hole exists, we are already and we are always already within it.

This is the orientation of the cosmos towards the most dense gravitational field. This is a, it’s a sort of perennial hyperspace — and we are sort of lulled to sleep or in the lullaby of locality, which is to say the neutrality and perpetual motion of a neighborhood, which is locked into a lockstep of a space-time dance due to mutually enforced gravitational pulls. This again is relativity.

01:49

So when we contextualize this, this makes me think about the 1970s in the Bronx in New York City. Or it makes me think about the historical ruins of empire. And it makes me think about being in time and the concept of ostraca, potsherd, and imperfection. The idea that when we describe… most of my previous work is a sort of timeless, immortal, infinite metaphysics of the character, the characterological nature of the cosmos.

But my work now, right, and I’ve realized the deeper importance… is through the hyperspace object, which is the cultural object as potsherd, which is to say a revelation of the eternal through the charnel house and the ruins of the temporal.

And if you’ve ever seen, I’m going to include as one of my pictures… here, the Bronx in the 1970s.

02:53

We are talking about through the corruption and the corrosion and through the disillusionment, which again is a material status, a phenomenological status of that which appears to be. This is the corrosion of the formal identity — political, social, material. A status that appears to be.

What is revealed to us is the deepest, darkest density, the gravitational pull which orients and organizes the cosmos in a greater systemic sense. I propose this as fundamentally the character not only of the human being, but the cosmos as and in absolute appearance and form — a shredder of formality; a splitting of the deepest breach of the apparent reactor of information.

03:23

We leave the locality of the neighborhood of human perception, just as much as we leave the locality of the neighborhood of the Milky Way. We’re entering into a space of absolute creational energy, which again is the return to a quantum mechanics of metaphysical awareness, wherein being in space-time is haunted by an infinite nature… and the artifact consciousness draws out the character of that infinite nature as a character illogical overturning of being in time.

And this is what I mean by the importance of the cultural object, especially historical detritus, particularly historical detritus that comes from evolutionary and revolutionary moments of paradigm shift. Because what these moments represent historically in a seismographic sense are sinkholes…

In a both in a cosmic and a collective consciousness, where this lockstep of locality and relativity is abolished in the form of and in the name of chaos, which is disillusion and disillusionment. It’s a sort of particulate accelerator, which breaks apart the fundament of the physical rules and laws of nature, the lockstep of relative reality… just to say an ecosystemic condition, a delicate homeostasis.

This again is the nature of the atmosphere of the earth providing shelter for a league of mammalian animals, or plant life… can be fostered and nurtured under this perilous distance of the radiation of the sun, stellar nuclear forge… which is itself forging us and forging all things, elementally and chemically.

05:48

So when I look at, and this is what’s so fascinating about… archetypally, historically, when you look at empires and civilizations of stone, it is simultaneously what remains and what crumbles into rubble. This is a sort of symbology of chaos or a chaos theory of history wherein we are recovering the bones and these bones are different. They’re cracked densities which remain history and histories.

And this is what’s so fascinating about an anthropological vision of history, because when we’re looking at bones, we’re looking at achaeological paradigms of information. Information archaeologies. Data banks. This is everything from digital information in terms of pixelated light, pixelated data to the… potsherd of the ancient Mayan to the bubble gum card, which I love so much — of baseball as a civilizational and cultural object of America’s pastime.

And my vision of history is a sort of scream, which is the black hole sink of this swirl, right? Of this breaking apart of space-time to reveal the quantum mechanics beneath the phenomenological Newtonian physical, which is a trance in the midst of hyperspace, a brief unity, a temporary agreement of forms.

06:57

Consent at the cellular and molecular level… to construct and create life.

07:12

And this is what’s fascinating about the nature of being in creativity. Again, right, when we enter into this awareness of the black hole horizon in a cosmological sense, and this itself being always already the case… the event horizon — is to say that we are already within the event horizon, which is to say we are already within the black hole, and as such time is being rent asunder. We are with Hamlet in a deeper sense when he asks whether to be. In that the precarity of the fabric of the entrancement of being is operative only insofar as this delicate astro-cosmic arrangement persists in the midst of the call of the deep attractor to break it up and shred it into a primordial infinity. This is revelation.

But this is again, the nature of time and its delicacy as it is perceived through human eyes, ears, the sensorium… — this is perceptual. This is a perceptual relative mechanism. It’s a way of perception through the myopic human being form, which is its own semblance of private entropy in terms of a thermodynamically controlled organism with an entropic half-life; it itself is undergoing its own private corrosion. This is by nature the essence of subjectivity. It is a ecosystem within itself, emergent from within the larger hold of the natural wilderness of the earth body and the cosmological supersystem of entranced planetary bodies; the star system and thermonuclear exchange unitary universal system of nesting dolls as inter-related galactic entities. And thus it is somewhat of a blind aperture reaching up toward the real.

00:32

And so when we are envisioning history, we’re looking at different time spans and lifespans of structures, whether those structures are planets or solar systems or galactic networks of energetic exchange through stellar forges and relative dynamics.

Which are processing, projecting, and producing radiation.

00:37

But we’re also looking at… when we look at the condensation of space time and the grounding of space time into a human context… this is what we’re talking about in terms of an anthropic history. But also a cultural history.

And the cultural history is where it gets fascinating — because cultural history is a particle accelerator, a fomentation of creative energy through condensation of relative energy, which is to say being in time, in relation, down through scales into imminent overturning, transformation; fractal representation at a metaphysical level of the grand cosmological principles in an imminent overshifting.

And this is what’s so fascinating historically about New York as a particle accelerator of culture — if you can understand this.

01:29

And so when we’re talking about… it’s, this is the intersection between physics and culture, which is the hyperspace of metaphysics — which produces the character and form and formulation of being itself proper in time, which is the revelation of the character of being as it shapeshifts like a snake shedding its skin in history.

To represent ever clearer the true nature and character of the creative, playful Will.

02:03

And this is what is required… is that humanity itself is an alchemical bath of stellar nuclear physics and is producing through itself an ever more revelated — as in the phenomenology of culture, which is to say Basquiat or Keith Haring, or the photography in the Bronx of the 1970s, which is reproductive of this creative quality as it is manifest directly in history and historical time, which is most apparent… in the rubble void space of the revelation, which is the deconstruction of the phenomenological Newtonian physical entranced, somnambulistic appearance of that which is, which is to say also also the biomechanical nature of the human being with its own private half-life and metabolic forge.

But also the construct of civilization, as well as the local neighborhood of the solar system. And this goes back to the last essay and the last oration — is what is required as a dissolution… in that humanity is an alchemical bath that… to sit in hell, as Marie-Louise von Franz says, I’m reproducing this quote here again — is to bring forth the philosopher’s stone.

And the philosopher’s stone itself is the nature of that which emerges from the void, which is the clarity of the possibility of the depiction of the true nature of character, characterological essence of the will, out from under this seemingly impenetrable, dense, opaque, phenomenological return of the hypnotic every day, which is also the hypnotic return of the mass of historical body as in representation of recurrent phenomenological conditions as a cosmological lockstep of impermanent reproduction falsely organized or considered in and through the human aperture of relation to the grand cosmological history as in reality or permanence; as such, the appearance to be the truth — wherein and in fact, it is a temporary cloth or garment of vestment of a much greater superordinate, hyperorganizing nature and force of being.

03:54

So we’re calling out from under the rubble of history — and this is why I represent the primordial scream as a black hole sink as a way of visualizing both cosmological and cultural history — because we’re looking at a primordial overturning, which is in real time, the phenomenological or the relative appearance of that which is being rent in a deep space and deep time sense, but it’s being metabolized through the human being as a slowed process. This is all time scale relationship… and it’s visualization of time as experience.

04:34

And the human being is experiencing time as the human body is experiencing time.

04:47

So at the most... fulmigatory level…

Culture, right, as a paradigm of over-turnings of fashion — which is to say an aesthetic status of the cultural object. And the cultural object itself here is being in time, it’s history itself, but is fragmented into potsherd.

And this returns us to the mythography of Dionysus and Osiris and Christ as representations of the cosmic body in time. Revealing itself via and vis-a-vis dismemberment into scattered pieces, parts, shards.

05:35

The fragmentation of the historical body, the cultural body into artifact consciousness, which is the object — which retains the aesthetic status of history, which is to say the moment in time which produced it, created it. And we are always already looking into the past and gesturing into the past in regards to the cultural object of history, which is itself being in time. This is all civilizations and organic forms as archives of space-time translation.

This is the unrecoverable yet tinctured fractured…. again, to gesture to Blake, always — chink in the cavern, truth of nature of being, being refracted through the implicit and explicit space-time relationships that are occurring in that moment in time. Through the breach of these impenetrable, dense, sedimentary stone-like histories of being as in the body in time as a formal arrangement and superposition of the past upon the present as a pending futurity.

07:00

So this is to say New York in the 1970s, just as it is to say… when I’m saying explicit, and then I say implicit— which is referencing the cosmological order, which is to say the tipping of the gravitational balance of the scales of the dynamism of the cosmos in terms of planetary and stellar relationships.

07:04

This is all supported by the same creative force which emerges through paradigmatic social, cultural, political collapse. And revelated — just as hip hop is in the Bronx in the 1970s — through this vehicle of high strangeness, which is the superordinary, hyper, hyperspace recombinative sublime emerging through the dynamic collapse of an ecosystem.

And the emergence of the sublime is the emergence of the creative will out from under the rubble of history.

And this is the experience of the black hole. It’s the warping of the phenomenological into the prophetic, which is the revelation of the transcendental or the essential dimension, which emerges phenomenologically as an experience. It’s a form of subtle time tripping, in which the gulf or the gape or the great black maw of time opens up and we perceive the infinite or the superordinate or the energetic form out from under the hypnotic trance of history and time bound relationship. This is the principle behind the appearance and detonation of the atom bomb in space time as a phenomenological representation of this principle in the formal, historical real.

The essential dimension — in so far as it can be perceived as phenomenological.

08:11

So when we look at pictures of the rubble in the Bronx in the 1970s, and we understand what emerges through it…

Basquiat, Keith Haring, punk, hip hop. We’re looking at a break in time, a rift. And through that rift is channeled and funneled the primordial which is strapless, so to speak. And what I mean by strapless is that it’s not undergirded anymore or any further by the... somnambulistic illusion of this solar system locality, which is the perpetual reaffirming and reestablishment of system systemic and systematic relationships, which undergird and affirm the predictable elements of… you could say the blue sky, or the rise and fall of the sun, which themselves are entranced solar systemic and cosmological conditions which themselves are perpetually affirming and confirming the experience on the sedimental ground level procedure of the historical. This is a recombination which, again, time trips the slow sleep of nature into a black hole sink and void of revelation through radical difference which is the emergence of the sublime culturally — in the imminent, hyperspace vehicle of human culture as an accelerated, hyperaccelerated overturning of paradigms of being as a metaphysical principle at scale.

So when you understand that cosmological super system informing the overturning of the everyday in a civilizational sense… and then you bring that down into layers of perception and dynamism, which is to say change over time, we enter into the realm of empires, and then we enter into the realm of culture of empires as perennial perpetual over-turnings of circumstances, sets of dynamic circumstance, such as the Bronx in the 1970s — and what these crusts of history produce when they crumble, which is to say they produce a replication of the primordial void state of the black hole sink, which is in actuality the grand cosmological experience in real time. This is a scalar, nesting doll effect observable at the level of thermonuclear astrophysics and stellar fusion as, again, a scalar effect reproduced and translated down across planes and mass statuses as a fractal, metaphysical form and process and procedure.

10:09

This experience… which is a revelation of the primordial essential human condition, which again returns us to existentialism, the negation, the void — and the experience in which and when history is stripped back, much as it is in a global sense with World War II, and the phenomenological conditions out from under the hypnosis of civilization or cultural standards or formations… which are reaffirmed and propped up by predictable outlets such as a currency or a national status or a religious status or industrial media or production as a superficial, negotiated form of return.

When these are dropped away, we are presented with the primordial negation, which is native to the black hole sink, which is also native to the human being in a very profound way…. we’re going to bring this back to a quantum mechanical understanding of the energetic status which undergirds the appearance of Newtonian physics.

11:27

So when we’re looking at a photograph like this, when we’re looking at the cultural object, this is always already in a state of primal and primordial tension as in artifact consciousness.

Between the absolute and the character of the absolute which emerges in time.

11:36

And thus retains a certain status as in a figuration with certain characteristics. And this is waveform physics.

This is the appearance of that which is acquiring density as in a stasis or a pattern of repetition which holds its form as a tenuous agreement in a waveform sense. This is Newtonian formal agreement as in the basis and groundswell of phenomenology proper as in organization.

In acquiring density, it acquires gravity. And in acquiring density, it acquires relationship. Conceive of gravity as a primordial magnetism — as a physics of relationship.

12:16

So this is what is breaking through time. And this is what is so important about the child at play in the rubble in the Bronx in the 1970s… is that we’re looking at the metaphysical relationship of being in time.

And the dissolution of history, which produces the necessary fragmentation to perceive the historical artifact. And this is the perennial absence as in past distance of the cultural object itself. So now we’re getting into a very profound metaphysics of physics in the sense that molecular status is always… at its deepest, most groundswell level as a separative, in that these molecules themselves are in a state of... I’ll say, repellation — to retain their status as individuals. And yet they’re holding together a vehicle. Whether you want to conceive of that vehicle as an individual, whether you want to conceive of that vehicle as a set of ecosystemic circumstances, or a set of cosmological circumstances.

13:38

This status is of a primordial void of negation, which is an inverse electromagnetism…

That the universe itself is repelled from itself as it descends into primordial negation, as in the black hole state of being torn asunder. This is the thanatonic out from under the erotic… which is implicit and explicit in Freud and the ancient Hindu metaphysic. The absolute interlinkage between creation and destruction as fundamental metaphysical principles which are always relative. Nietzsche relates this in terms of ethical and moral positioning in his works on good and evil as more philosophical principles, so to speak. And this is always the question of revealing the absolute out from under nuclear fission. This is the creative and destructive power of the universe insofar as we can visualize it energetically in an astrophysical sense.

14:18

Fission and fusion, which themselves are effectively the same process.

14:25

And what’s so fascinating to me… is that this physical status, it’s one thing to become entranced with the actual phenomenological movement of the particle or the atom being torn asunder or rendering, elementally. But it’s another thing to observe the scalar relationships and dynamics of this metaphysical process as it descends down into increasingly fragmentary, hyper accelerating microcosmic overturnings — which is the progressive half life of the descent of the grand cosmological status manifest in and as thermonuclearity… down into time, which again is half and half and half, as a scalar phenomenon and a translation of metabolic fusion — which is the experience of a hyper accelerated, again, a hyper drive of this essential creative cosmological metabolic essence. In short, this is happening quicker and quicker and more radically as the scales translate. From star systems to human culture in the age of modern American empire and empires. And thus metaphysical revelation therein — of the high strangeness at work in the sublime phenomenological emergence of recombinative time dropout; recombination which breaks time into profound, existential, groundswell novelty —

Which is the change over time, which is the change into time, which if we’re going to look at this archetypally, the snake is shedding its skin with increasing rapidity and psychedelia — as in revealing of the hidden nature, creational energetic of the psyche within. And this again has to do with thermodynamic status as a hyperdrive in a scalar sense.

15:41

And this is what we’re examining and what we’re looking at when we’re talking about change over time… even if you just want to locate it and localize it in a solar systemic sense.

So when we look at the change over time in American civilizatio — and this is why for me, I focus so deeply on modernity, the moment that the human species cracks… 1900. What is it, AD? Yes, that’s what they want to call it. That moment in the 100 years, in the 125 years after 1900 — you have this massive, again, due to industrialization, which is the harnessing of the elemental powers latent within the body of the earth.

The harnessing of those powers with increasing awareness, consciousness as to the recombinative nature of these powers, which is again, massively aided if not in an entirely culturally or socially conscious way and sense by quantum mechanics and quantum physics, which is the revelation of the energetic dimension out from under the Newtonian, which is the phenomenological.

This full sweep moving into personal computational devices, artificial intelligence… from the airplane, from the car, from the light bulb, from the factory. These advances in technology — it is to be noted, are always already advances of science translated into industry as in an enhanced vision into the thermodynamic, thermonuclear, elemental, and chemical functions of existence proper.

17:17

This full sweep of advances creates a utterly unrecognizable metaphysical landscape, which the human being is interacting with in a dynamic futurity in the sense that this landscape is utterly unprecedented in the long time span, so to speak, of human consciousness.

But not only that, it’s the creation… in the repurposing and recombination, as we’ve discussed, of the elemental and chemical conditions — which have henceforth been formed and nurtured as in the grounds of being in time in an earthly sense… even just in the nature of the history of the earth — that are now being repurposed mechanized as in quite literally natural gases out from the prehistoric time.

Of this sludge that is being dredged up from the depths of the earth. This hyper-carnal, dense, dynamic energy which is now being exploded back up in a gaseous sense and being used to turn the lock of energetic engines and machines to power this new metropolis.

18:36

We’re looking at a profound process of excavation of deep time to power this rocket ship of the present, which creates, in turns, an utterly unrecognizable political, social and cultural reality… that even as it is being created, it fails to sustain itself homeostatically in an ecosystem sense, crumbles. With such rapid self reflection.

And out from under it emerges this twisted cybernetic cultural force, which is the unity of this hyper futurity and hyperspace and hyperdrive, which is being now being populated by city streets and city blocks… with this organic, organismic, fleshly, natural, green vine entangled wilderness of the human body, which is a deep time product, again.

And this strange unity that emerges out from this mingling of the extension of the human network, the nervous system veins and fingers of the human body into wires and machines, which ever more rapidly are reproducing political realities, which have unintended unseen inexplicable after effects in the human being’s ability to perceive — beyond the human being’s ability to perceive in the limited aperture of its perception of the grand magnetics of space-time.

20:16

And this is what we’re talking about with the sublime, the historical sublime… which to me is utterly particular to modernity — because we’ve entered into this new dimension, this new time.

And that’s really what I want to introduce here. I’m not gonna make this longer than it needs to be…

That’s what I got. I’ll catch you on the next one.

Visionary Subjectivities: Frankenstein, Basquiat, Engine Wave Form Compression & the Sublime Physics of the Authentic Encounter of Being

Oct 18, 2025

[]

[]

[]

00:01

So I want to talk to you about something very specific today. It’s regarding the construction of specifically human consciousness as a product of natural consciousness, which is a sort of visionary split.

And the way it’s a visionary split is through an inversion, is that natural consciousness constructs itself…

Absolutely.

01:05

And human consciousness is a reflection upon that absolution.

01:14

It is the experience of the body that constitutes the existential tension of the incompatible conflict between consciousness and witnessing… and the linguistic modifier of the body in space and time. Which is to say, the human being experience is navigating the forces itself proper.

Is the human being is itself the will, navigating the will as an awakening and awareness to and of the physics of the human experience, the absolute interdimensional, synthetic science of the human experience… entropy, gravity, and the genetics of the birth of the form of the human being as a linguistic modifier, the human being itself as a word or the word.

This again returns us to the concept of the divine logos, or God.

02:06

So the way that I was going to frame this is around the title, Visionary Subjectivities, and introduce two Basquiat drawings. Themselves… the drawings often I find more fascinating than the paintings, specifically because of their illustrative and straightforward quality, the unadorned depictions of the experience of the human body… projected through the symbolic linguistic modifier, formal representation of the body.

The body is re-projected out into space, into time, two dimensionally upon the piece of paper in reference to the expansive interdimensional, three dimensional procedure of the human body moving through space and moving through time.

So the metaphor to me, Basquiat himself as a subjective experimentory… is I envision it symbolically as, of course, the cross, which is the vertical and the horizontal dimensions. And then the outstretched hand reaching through it, which is the human experience or the Adamic, as in Adam, in the Michelangelo creation painting. The outstretched hand through it, the Adamic dimension, which is the human dimension, which is the experiential embodied dimension of spirit and time, or spirit and form moving through time… passage by dimensional expansion through the vertical and horizontal planes… as in gravity….

Into the process of the negotiation of gravity in space and time as in movement of the will in the field. And this of course returns us to athletics as an attunement of the will to physical conditions and physics proper, an embodied gnosis, which is to say the experience of that which is stitched together.

04:17

I was going to use the metaphor Frankenstein as nature here. That which is stitched together by the absolute process of the construction of the unconscious will becoming conscious through its experience of the construction in space and in time. Again, the embodied experience of the engine waveform in space as thermonuclear inhabitant.

As quite literally a linguistic modifier, as in a spoken word… as itself space and spatial dynamics, the negotiation of the warbling engine outside compressing space on the street. And this is Basquiat.

05:06

Because we in the human experience are moving through a time tunnel, which is the construction of space time as the real field of negotiation of these forces. Again, the physics of the human experience, entropy, gravity, and genetics, as in the construction of the birth of the form, as in a field, a field status… an ecosystem in which the body lapses in upon itself.

As in a compression of time or a folding back end of time upon itself which we understand to be the experience of the hole gravitationally, the pull back into the abyss of the body and the constitution of a visionary subjectivity out from under it.

05:59

Again, this is the idea that the kingdom of heaven is within you. This is the idea of the revelation in the literal embodied experience, which itself is transcendental and beyond words and beyond language… because through the linguistic modifier, the force which constructs all linguistic modifiers as in the field of space-time itself, which is the perennial gravitational negotional relationships between bodies…

The implicit and explicit perception — by going down and into the form, which itself, the form is the construction through which the visionary subjectivity emerges by reflecting back upon the body proper. This is the intersection between poetics and physics, if you understand this. Theoretical physics and poetics.

07:00

Because this is a reflection back upon the body proper. It’s just a failure to metabolize the total field dynamics therein. And so when Basquiat directly reflects as in a painting or his paintings or his drawings, which consistently and persistently at their best are primarily fundamentally and even solely reflections back upon the symbolic nature of the body as in the experience of the body, which is transcendental of the anatomy.

And so I need you to blast this outward macrocosmically in a cosmological sense when Newton asks the question who constructs gravity. This is the same question Basquiat asks.

07:50

Who constructs human consciousness. So he has the painting, which will be included at the top here of the sort of twisted ape with the moment of terror and horror reflecting back upon and through its construction… and Basquiat is mirroring that image representationally upon the piece of paper.

08:10

The body has left the plane of cellarity, stellarity, and has entered into true stellarity, which is the visionary awakening of consciousness up through the genetic form and the forces which ground it, twist it, malign it through history. The form of the star beyond the star which is the essence of existence proper out from under and beyond phenomenological recursion of form as representation or symbolic of the essential as in projection of character into constructive, creative formal dynamics which are in interrelationship with each other as in the space-time field proper.

08:32

And so this is what we mean by awakening in a cosmological sense. When the… much of the misguided modern physics takes the formula to be the truth. But the formula is just the action of the negotiation of the process. We’re looking at the essential character behind the action and the action can tell us about the character. Right. And this is the incorporated quality of metaphysics, which aligns the nuclear physicist or the theoretical physicist with the poet or the one who explores the depths of the psyche, which in this case would be Basquiat.

09:15

And so when we talk about Mary Shelley’s Frankenstein… and again, I wanna connect this with the human experience as a cosmological process, a stellar forge and a stellar field, which is itself the totality — is that what she is depicting in Frankenstein and the creation of the monster in Frankenstein is literally the process of nature becoming aware of itself, the literal recombinatory process, elementally, chemically, genetically, of creating this form — which itself is the spark of awareness, which again, down through time and down through ancestral history, genetic history… there is this awakening of the ape, which itself is a plant or a tree or flower which is grown and fattened in the thermonuclear metropolis of Earth and the larger empire of the solar system. We could say the kingdom of the civilization as a field.

And then of course the larger interstellar field of the universe itself.

10:35

We’re looking at the authentic encounter of nature through the spark of the mind, which is synaptic, the forebrain synaptic, reflective, refractive encounter, which is true in the sense that it is embodied and as such is negotiating the will within the will, the will which has awakened to the will.

As a primordial condition and the primordial embodied ecological terror of that revelation in the sense that it is occurring through itself unto itself and is immediate and as such cannot be negotiated outwardly symbolically. Although that attempt constitutes much of, if not all of human history. Again, if you understand this, that the visionary state is a total inhabitance of that principle. It’s not a refraction or reflection of that principle into a cosmos or into a symbol or into a linguistic wherein the linguistic modifier itself as a natural form and as the construct of nature. It is an absolute revelation of psyche as the pre-linguistic condition of cosmology and cosmos — which is to say, the quantum mechanical realm implicit and explicit within space-time as in the characterological.

So understand the linguistic modifier is both space time and the genetic form of the human being. They’re inseparable. This is again the interstellar union of cosmos and psyche through the thermonuclear scalar — which is to say in the human form, the metabolism. We’re talking about the same metacosmological process, the same metaphorical linguistic, the same metaphorical language which is being translated down through scales as we’ve discussed.

The experience of that is total in the embodied incarnate human being and thus… the revelation of that is the primordial terror depicted in Basquiat’s ape reflecting in upon itself and being depicted truly through the visionary subjectivity of Basquiat, which renders the being, the body and the form as a primordial trans-historical terror of revelation of that which is enlightened to or becoming aware of itself as a grand cosmological process and yet grounded in a formal half-life, entropic animal organism.

13:09

And you can see this reduced even further in the gold-framed black outline drawing of a total emptied presence.

A sort of ghastly constructed, again, Frankensteinian apparence of being — which itself in this second image is entirely non-reflective.

And this would stand for the reconciled hyper-mechanical, sort of quantum deterministic principle of nature, which is itself revelated in the first.

13:52

This is made apparent in the eyes and the mouth, and also in the perspective upon which we view the revelation from outside. This is very similar to Munch’s The Scream, for instance, because again, we’re looking at the existential condition of this interdimensional gravity, which has been and is itself a deep time historical snowball of movements. Elemental and chemical recombining. A synthetic process of a nature.

Which is, again, with Kierkegaard — redoubled upon itself in the revelation, which threatens the return of something far more primordial than the phenomenological or the Newtonian physics… which again, as we discussed, is the entrancement of the quantum mechanical — because it is the repetition without awareness, the repetition without witness.

15:04

And this is what’s so fascinating about the story of Job in the Bible, is that what this describes is a reckoning with the quantum mechanical field out from under the Newtonian hypnosis of space time.

15:20

The abolition of the form through the revelation of the form. And the experience, the revelation of the form comes about through the embodiment of it. Again, right? The negotiation of space-time as fields of gravitation.

And the gravitational descent itself of the linguistic modifier of humanity down through the large-scale trans-special genetic code, which gives birth to the modern iteration of the human being — which again is the experience beyond the conscious creative construction of the sex drive, the lungs, the heart, the brain.

This is an inheritance, right? This is deeply Newtonian. This is an inheritance, a phenomenological inheritance of a template of being through which being is becoming conscious of itself, vis-a-vis the navigation of these forces, which is the essential athletics of history.

16:38

That human history itself is the story of a progressive attunement of the will to physical conditions and these physical conditions being incarnate primarily and then negotiated out in the realm of a relative gravitation…

And having to negotiate the linguistic modifier of the digestive system.

The thermonuclear metabolism inherited from star systems.

17:11

This essential process which has been translated and is lived out actively, consciously or unconsciously, unto the awakening of the visionary subjectivity which has the moment of the sublime encounter of the totality up and out through space-time into the revelation of creative being and all that which has descended and transcended down through it. And this is what Basquiat is incessantly, fundamentally, transparently depicting. The supernovaic, dynamistic psychic encounter with this trans-historical, bio-mechanical, creative constructive force of appearance which is itself the very primary motary metabolism which powers the genius of the painter as he translates the psychic form down the dimensional timelines of this inherent creative linguistic in a supra-cosmological sense down into the representational, imagistic, symbolic dimension — as in the illustration of the experience of this encounter primarily, viscerally; without handrails. A wild, sublime revelation; as such, again, the awakening of visionary subjectivity of genius creativity expressed primarily.

17:39

This experience… seeded into this process of active embodied gnosis, which is the human experience.

17:55

And this in many ways again is an abolition.

It is the direct encounter, which is the abolitive encounter of the previous paradigm of the historical unconscious, the entirety of nature in the natural process, which is a lapsing in, a breaking in and a breaking down in as in hole dynamics, space-time hole dynamics…

18:21

a lapse of the form…

18:28

the opening up beneath the form of the supra-historical abyss…

18:36

which is conscious revelation.

18:40

The moment of awareness, which breaks in and through the historical language of the genetic body, in and through the historical language of Newtonian physics, which is the formal field of being.

19:04

And this is by the process of the will’s incompatible conflict and negotiation between the witness which cannot reconcile itself with the linguistic modifier which itself is temporal. Because the witness understands in an a priori way — this is not a knowing, is an awareness — of itself being as the total field of being and is attempting to reconcile itself with this half-life modifier.

19:41

Which produces the Basquiat.

19:46

The moment of awareness of the visionary subjectivity as discussed compression of space on the street in regards to the warbling engine which is the impossible relativity… again, right, if you understand this in a quantum mechanical sense, this is the impossible relativity which is the seat of the thermodynamic thermonuclear revelation in and through itself into and unto quantum mechanical, which itself seems impossibly incompatible with the everyday because — in a very profoundly true sense, it is.

Again, to understand this in relationship to the entire arc of what has just been constituted in this oration.

20:29

So that’s what I got. Pretty cool stuff. I’ll catch you on the next one.

The Losslessness of Being: Wave Form Compression, Cosmic Translation & the Linguistic Modifier as Brief Primordial Terror of Revelation

Oct 19, 2025

[]

00:00

So I’d like to wax a little bit more into the terror, the cosmic terror, primordial terror aspect, because we’ve laid out the science and the science is fancy and it’s an interlocutional science, a multidisciplinary and multidimensional science that compresses down into a kind of single glowing ball of light, so to speak, across all scalar dimensions.

00:29

We can talk about those characters, but… this is the issue with intellectualizing and academicizing, right? This experience, which again, if we understand it correctly and explicitly via quantum mechanics, that it’s a participatory universe, an experiential universe of consciousness, consciousness exchange… awareness, and the impact that consciousness has on space and time as constructive force and factor.

That’s what we’re talking about when we’re talking about unconscious nature as a systems process, which is running automatically as a increasingly intelligent deterministic waveform model that’s being replicated across scales through linguistic modifiers, as we discussed with genetics or stellar forges, right? The stellar forge elementally is a linguistic modifier, which is producing language as in the element…

The human body as in the chemical or the hormone, or the synaptic register. And we draw that down into the experience itself, which is of the essence. And again, this is the unity of existentialist philosophy with quantum mechanics and theoretical physics, which is of the essence.

02:01

That which is of the essence is the experience of being human as it is formerly quantified and made into a qualifier. As in the experience itself, quantified down through the genetic and linguistic chain of information made into sophisticated waveform, right, multi dimensional waveform, which is, you could describe that as the vortex of the heart, or the delicate architectural symmetry of the lungs or the nervous system.

And to step into that somnambulistic unconscious architecture of nature and through that somnambulistic unconscious architecture of nature to wake up into the quantum mechanical realization of the psyche as the orchestrated force of the cosmos as elucidated in the Heraclitean axiom, the Aeon is a child at play with colored balls. The Aeon is the child itself and the child is the character at play — being at play with colored balls — which are themselves the physical the interdimensional scalar, cross-scalar — cross functional physical.

It is a creational process that is a being at play which is a recombination.

03:36

So this is a progressive awakening, right? Because this is an awakening out from under the primordial construction of the colored ball, which is to say the neuron, the nucleotide, the atom, the molecular, the particulate, the planetary, all of which themselves are the formal constructions which radiate themselves into the presence of being as in a temporary wave form with a characteristic density which is itself that which constitutes temporal presence.

And so the human being itself is having the quantum experience of the waveform down through itself, which is the awakening of consciousness unto itself through the device, which unconscious nature presents, impregnates itself with, and realizes itself through. And this is this is the the essential liberation work of the human being and of consciousness itself as an eternal process and procedure of translation down into forms.

And this is equivalent of a waveform loss. Concept of sonic losslessness here is deeply applicable because what happens when you translate essential information such as metaphysical character, as in character of the quantum mechanical universe, as in the being itself down through scales, is that there’s loss.

05:12

Just the same as a linguistic translation would occur between cultures. We’re talking about a linguistic translation that’s occurring through scalar modifiers.

05:23

As in degrees, as in cosmos, as in spheres, as in concentric circles, in the Kabbalic sense — of colored balls. Again, right? This is astrophysical all the way down to the atomic.

05:39

So when that speech of being as in the waveform, and again, this is the logos, we’re discussing the logos here… is translated down through scales, there’s a loss.

05:53

And that loss is articulated in the presence of the being in the awareness and the awakening of itself unto itself. And this is by nature, the unconscious nature as in a forgetting, as in a teleology, as in a symbolic chain, a chain of representative being, which is projected out through pictorial, imagistic dimensions — are themselves degrees of forgetting as in proximal distance.

And this is, paradoxically, or perhaps ironically, what allows for and enables life on Earth, which is, again, symbolic distance between the Earth and the sun as in the star system that sustains it in terms of the thermonuclear radiation which moves through it and as such produces all of its outcomes and its nutrients, which it progressively produces, consumes, produces, consumes down through what is called on Earth proverbial food chain.

As in an energetic train and chain of translation and transformation, all of which itself is the same across scales.

07:05

And so this this experience itself is the experience of the horror of the revelation of forgetting, which is to say the awakening into the the bestial night, so to speak. And this, course, is a genealogy and a genetic chain, which extends thousands and millions of years into a primordial history, which is impenetrable to the conscious mind and only accessible directly through the body as a private ontology.

07:34

This itself being a linguistic script which extends effectively into the infinity which is the ungraspable of the human nature and as is such the primordial terror and the primordial night which haunts it and possesses it and dictates it unto the awakening of consciousness itself as the the ur force or the origin force. That itself being the will primordially and primarily in a natural cosmological being sense — out from under this night of history, so to speak.

And so this is the experience of the organism terror because it’s locked into this temporal night, which is to say the experience of the entropic thermodynamic body, which is a translation of the thermonuclear energetic principle of the stellar nuclear system within which it resides.

08:31

And then foremost, again, a translation of the essential creative nature of being itself as articulated in the Heraclitean axiom. The Aeon is a child at play with colored balls.

So to understand this, this is a forgetting of the essential character and essence and identity of being itself and an awakening into a form which is constricted into a terror of limits and limitations, which is necessarily the essence of language.

08:58

So when Wittgenstein speaks of the language problem, it’s much deeper and much further and beyond what modern philosophy or psychology or even semiotics would suppose — is that the language problem is itself the scalar construction of the universe.

And as such, the losslessness as in being in translation down through it, which is the failure to retain or obtain the primordial object itself, which is the absolute psychic wholeness of the universal. And as is such the psychic liberation of being itself unto its revelation refracted and reflected down through scales directly in the perceptive aperture of the human being or the scalar being or the microcosmic node of being which returns itself to full apprehension of the essential metaphysical primordial character of being itself.

09:51

And we’ve discussed this before as in a reunion or a primordial unity. And this is the awakening of the animal being into the night of history, which is itself possessed of these temporal nodes and nodules, or technologies or prostheses, which itself is the awakening of natural primordial consciousness into arms, legs, and the embodied apperception and interrelationship with the physical forces, which not only construct it, but dictate it in a space time sense — which is an astrophysical relative sense, which is a Newtonian sense. So it’s bound in these false chains or it appears to be.

10:37

Right, because this is a linguistic construction of the universal, which is necessarily time-space bound as in a formal language. When we’re talking about linguistics, we are talking about the letter, the word, the speech waveform, that itself being the break or the code or the lock to the sigil of the dynamic of the perceptual conflict between the phenomenological Newtonian and the primordial cosmological quantum mechanical.

This is the breach in the bridge and the bridge through which consciousness flows and is awakened through the node as in the Aeon as a child playing at colored balls in a eternal darkness unto the spark of light, which is the replication of a radiant awareness.

11:32

And by radiant awareness, mean the firing of the synaptic engine.

11:42

And this is all an eternal resonance. This is what’s so important to be understood, right, is that this is an eternal resonance, which is super temporal, but which is pastiched and transposed upon the appearance of the temporal realm as a series of brief figurations in this essential metaphysical primordial language, which is itself the speech… and it is to be forgotten as in the language itself, which is the linguistic modifier which is translated down through scales in a scalar sense, meaning necessarily loss as in losslessness.

This is, so to speak, the corruption of the audio file in and through which the essential nature is through densities. Through translations and transmutations and transformations of the waveform as in an ongoing complexification of space-time dynamics. Again, in a scalar sense, being within being within being. It’s in a translation of this nuclear… we’ll say thermonuclear radiation, it’s a form of existential fission. Which is again replicated in the process of cell division, which is again replicated in the process of strings of language.

13:13

And when we’re talking about weaving strings of language, we’re talking about a primordial cosmic quilt of being, which perhaps is most necessarily replicated at the microcosmic level in the genetic structure of the organism itself.

And this is a long term… this is a deep time procedure of speech, which becomes the linguistic strands which constitute the formal construct — which is neurologically sophisticated and sophisticated as in the development of the synaptic device of perception itself. As in the hindbrain and the forebrain.

13:53

And this is the revelation to various different degrees of awakening unto the terror, which is the forgetting, which is the lost code. Again, the lost code as in the losslessness of the audio file.

14:08

This is elucidated quite clearly in the principle of the Om in the ancient Hindu.

14:15

This is a sound, it’s an elucidation, which is itself a body, a waveform body of temporality, which is the eternal, but where is the source of that one who speaks? As Newton says, who is the one that performs gravity? We cease to describe the phenomenon and ask ourselves, what is the character of that which is? And this again is the fundamental principle of the Vedanta.

14:47

So this is the beginning of the inquiry, which is the existential condition of the human being. And the human being is always already that inquiry. It is necessarily replicating its status as in the dimension of its interrogation of that which it is itself, as in its awareness… in the the prism of that which it experiences and the depth to which that it has penetrated into this breach, which is itself a temporarily horrifying truth between the nature of being itself and the status of the ground of the temporal, which is the temporary figuration of the being in that which it experiences formally as a construct.

This is paradigmatic — in the sense of a species as an epoch.

15:40

So that’s what I got. Catch you on the next one.

Purgatorio, Paradiso: The Primordial Genome, Semiotics, and the Escape Velocity of Genius

Oct 20, 2025

00:01

There’s a great issue at the heart of culture, which is that the human being is being transfigured by forces and culture… necessarily retains the human and an animal system. And the animal system is a semiotic system, which is a system of symbolic behaviors, which are understood by a community or by a group. This is a, this is a primal mechanism of mutual understanding and mutual comprehension… is profoundly, fundamentally implicit and explicit in language and in any linguistic work.

And so this is the issue in which the human being is couched is that it is contained once in a biological container and twice in a cultural container. And I’ve spoken about this extensively in my deeper, more fundamental abstract, metaphysical and philosophical and psychological work and scientific work… is to say that the human being as a construct is limited by its acquiescence to the mass drive, which is a, again, the turning of the human being into a symbolic register of symbols and signs toward comprehension by the mass or by the group or by the community or the culture.

01:27

So this is effectively the entirety of human history… that the human being itself resides within humanity.

01:36

And this is so profound because it gets us back to the existential physics or the existential theoretical physics of being human and the experience where — there, and I’ve used the term escape of velocity before and I’ll use it again — in a hyperdrive existential sense is that the human being is seeking to overcome itself.

But in doing so right necessarily, there’s multiple parts of self-overcoming that are implicit and explicit in that engagement. There’s the ancestral history, the cultural history, the human history, the biological history, right? And that itself being from a very early point in the register, a registration of the human being as the cultivation of an individual is the creation of a symbolic order and a system in which the human being is necessarily couched.

And here we’re talking about everything from the genome to identity to the linguistic modifiers which the human being applies to space and time, which is its world register, the way in which it perceives world and perceives self. These are the constructs which are cemented into the human being worldview or the human being cosmology which necessarily is a delusion and is a limitation, but at the same time is what allows for the most primal human drives of connection and understanding and community to emerge into a practical relationship.

03:20

There again is this push and pull between the unreality, which is at the depths of the human experience, which is the unreality of a consensus community architecture, right, insulated symbolic realm which is not oriented towards truth but instead is oriented towards communal understanding or the communal register of information.

And this drag can be most concretely symbolized scientifically in the understanding of intelligence as in the synaptic nervous system and the way that the synaptic nervous system fires and creates associative constructs and networks of meaning and information within the human organism as an individual.

This is the biotechtonic architecture of the human being, which again, refers us back directly to the stellar nucleosynthesis of stars themselves. And of course the energetic exchange and the thermonuclear metabolic exchange down through scales into the human being proper, which creates its architecture, which is to say it’s system components and how those system components register reality in the human experience and thus archetypally and symbolically organize it.

04:44

So we’re talking about orders of information and how that information is interpreted. And this is the, the whole groundswell of Kant and that… the Kantian work on judgment and interpretation, which interestingly enough, Susan Sontag picks up at the latter part of the 20th century to discuss a movement away from interpretation…

Because we’re looking into the experience of the looking glass eye, the register of the human being genomically as a synaptic and neuro-processing architecture as a way of surmounting itself into a real apperception and proprioception of reality, which here means a real resonance, right? A coming into being, a total presence, a total emergence and submergence into truth of being, which necessarily is superhuman, again, right?

05:21

So we’re looking at this dialectic. And on one pole of that dialectic is the bio-cultural, which is the hazard of being in form, which is the communal construct which gratifies the deepest biochemical and hormonal instincts of the human being toward community, which is an architecture of communal understanding, which is implicit and explicit in linguistics and symbolic orders. This is, at its deepest level, survival and safety as in being a part of the tribe; thus, the gratification of and the assurance of value itself as a symbolic order of culture and inclusion and community. This is a deep animal nature.

And of course that symbolic order in the cultural sense is always already a symbolic order built around the human language, the human being language, which is to say the biochemical language and the hormonal order of how the human being is organized towards survival and reproduction and perceiving the world as in a utility toward the survival and perpetual emergence of the human species and the human race.

And then on the other end of that dialectical pole is radical truth, which is an abolition, but at the same time, a deeper descent into the true reality, the existential reality beneath and beyond the human archetype, as in the true energetic form beyond the figuration of the human letter as a word in the geological ecosystem of Earth, but also in a cosmological sense.

06:43

And that word or that letter is composed by a genetic construct, which is always already in perennial renovation or reconstruction or recapitulation or recombination.

06:58

So this is the essential conflict of being human.

07:04

And this is the work that genius is and does, is that it is a permanent abolition toward a direct encounter with being itself, is necessarily pre-linguistic, which means it’s pre-cultural and pre-biological.

When we are discussing the term pre-linguistic, we are talking about before the genome. We’re also talking about before space-time. But again, we’re also talking about before the cultural construct of the English language or Sanskrit, right?

We’re talking about before the emergence of the symbolic representational identity as an image making as a device of reflection or refraction upon the condition of existence, which is to say the advent of the forebrain in specifically bioevolutionary terms and the synaptic register there.

08:05

We’re talking about a return and recedence as in residence into pure presence as pre-archetypal and post-archetypal… in the sense that the symbolic language or register of being in time, as in a formal existence, is abolished and the total existential condition is met through the form as in a return to the formless.

And this is necessarily, again, this is the escape velocity of genius as a neurosynaptic architecture of the experience of being human, which is necessarily transcendental.

08:33

Shatters the cultural ceiling of the historical god, which is to say the precedent upon which humanity is built and fires into as an absolute limit of its cognition, its perception, and its ability to retain and absorb a grand cosmological or psychological presence of being.

The ability to, within to time, emerge the timeless.

09:06

And this is historically the contraction, the push pull and the tension of the architecture and archetype of historical genius in space time and through human history and human culture as something that necessarily transcends the human experience while articulating what is beneath and beyond the human experience from above and below.

Because this is the architecture of the quantum mechanical abyss or a black hole physics.

Both in front of and behind the human experience, which is the void… which is perceived primordially.

Into and through the construction of space-time as the slow linguistic winding as an accumulating sentence structure of the genome, or of the solar system, or of the intergalactic relationship of cosmic energy through the stellar forges of nuclear synthesis.

10:12

We’re reaching back through time and reaching forward into time to receive the couched timelessness within the first and last moment of the universal architecture, is the appearance of form… which is the perception of a structure.

Which then life submerges and is submerged into — and has this lived, felt experience of this present architecture, which is in actuality in a deep time, glacial time, glacial space time sense, the cosmological and psychic primordial absolutely in terms of their absolute unity, which is to say… the absolution of form.

And this is how we understand the psyche in terms of dreams, it is first prior to images, the blackness. Gravity and time are occulted as phenomena in the dream state. The psyche achieves a quantum liftoff from the pull of physical circumstance into the sphere of the absolute; is retroactively cognizing form. It is a form of metabolism of experience unto and toward the absolute as a profound and primary state of consciousness implicit and latent within the human architecture itself. It is a primordial memory of the absolute truth of being.

11:21

And again, this is in direct reference to the cosmological circumstances of the creation of this universe.

as well as the full cosmology… is the population of structures in space-time, which are all necessarily temporal half-lives, and all of which themselves are symbolic representational registers, as in linguistic, as in languages, as in subjects within the field of being, as in space-time as an appearance.

11:52

And so this is the conflict of being human because if you understand in the sense of genius, there is a highly developed psychotropic mind, and psychotrophic… as in a hypertrophic mind.

Which through the psyche is perceiving beyond degrees of the possibility of registering and thus creating domain for bringing linguistic gravity into that which henceforth has not yet existed or has not had symbolic register or idiom for in the previous human cultural architecture of meaning and being, which is the grand civilizational, right?

Super civilizational as in the human species attempt to create a real construct a real linguistic construct which will reflect or refract back the total cosmological identity the total psychological identity of existence itself proper. This is the human project —

13:02

But to… this is the slow integration and psychic metabolism of the human species itself proper historically when genius must be metabolized in a, we’ll call it a post-mortem framework of the idea and the ideal because it is an initiation into a broader realization than the current metabolic framework of the civilization or the culture or the spirit of the time.

13:32

This is historically the work of genius from Galileo to Socrates.

13:42

And this genius itself is just representative, as in the most explicit or fundamental or high contrast, as we discussed previously, chiaroscurotic example of the larger human condition and circumstance, because of its extremity, because of its far-reaching totem.

This is the creation of a symbolic register.

And when I say totem, I mean the object idea, the object form of the transcendental… being inserted into cultural consciousness and the cultural cognitive architecture of the species itself as the emergence of a transcendental force which necessarily breaks the glass ceiling of the cultural and symbolic civilizational architecture at large and expands it into a previous abyss which is necessarily the natural terror of a communal tribal environment experiencing an extension of its linguistic and symbolic order into the earth-shattering, hypertrophic framework of genius itself — which necessarily ushers in new symbolic orders, new paradigms of symbolic orders, because this is a symbolic metabolism of existence itself, and this is the purpose of cultural language.

14:59

This in many ways is also the purpose of the human body as a symbolic architecture and as a form through which being and existence itself metabolizes. Because this is an energetic flue, as in the increasing gravitational constructs and densities of the constructions of wave forms through the perennial universal digestion of stellar nucleosynthesis down through symbolic orders and chains of information creation, construction, consumption, and production.

Which as we discussed in the last essay here, the last oration, is that it is a lossy state, an increasingly lossy state from the lossless architecture of being itself, which is the ful, fulmigation, which is necessarily transcendental of the word prior to the word, but manifests in the word down through stages of translation, much as culturally the translation from Sanskrit to English, is going to inhabit a certain lossy state of the full spectrum of the effulgence of the linguistic information being communicated within the prior symbolic order.

The closer to the origin you get, both in a cosmological and a psychic sense, the more lossless the information is.

16:25

In terms of the communication of that direct effulgent source in a first order symbolic architecture, as opposed to a second or third or fourth order, which is a descendants or an ancestry. Again, this refers directly to Darwin’s genealogy of being and the human being or the species… is that this symbolic order is an ancestral descent down into time, which is a increasing into density and thus decreasing of the effulgence of the waveform presentation as a direct immediacy, which is the revelation of being itself proper, which is to say the thermonuclear radiation of the sun is stepping down into higher density gravitationally pulled…

Just strictly speaking, resonance machines, resonance systems, which are waveform systems which hold a density as chambers of that fundamental information, which are continually recapitulating and reprocessing that fundamental information as in degrees of intensity or complexity or degrees of complexity —

as itself the radiation.

17:37

But themselves again have stepped down so thoroughly and so beneath into the symbolic order. This is like a descent into a cave, so to speak, that they have stepped down so thoroughly in that descent into that symbolic order that they are now effectively speaking a different language, through chinks in the cavern — which is necessarily always already in reference to the primordial effulgence of being itself proper, but is in a lossy state.

18:05

So this is what we’re talking about in the constructive, constrictive, and even productive tension of genius in relation to culture and the sphere of the biome, the biosphere.

Because we’re talking about genius as an emergent effulgence from within that cosmic cognitive architecture of the human being, which is a lossy file.

18:29

As in a space-time gravitational deep genetic ancestral file of this primal information as a linguistic construct of the animal of millions of years, again, the hind brain and the forebrain and the neurosynaptic architecture of the human being. But that genius is an effulgence as an expansion of that cognitive architecture beyond the explicit capacities of the human being therein and henceforth.

And as such is reaching up and beyond and out from within the organism’s architecture and cognitive architecture and physical architecture itself into this… inversal of the lossy file into a more coherent and cogent lossless state of being, which is to say a reaching back up from within the symbolic order toward the transcendental object, which is the let’s say, the linguistic perfection of the cosmos and profound interrelation to the psyche, which is a total revelation of being out from within the construct of history.

19:53

And this is profoundly transcendental. It’s revolutionary. As in species revolutionary. As in history revolutionary. As in a literal...

20:06

redemption of history through the emergence of the lossless waveform from within the lossy file as a descent into form. A descent into being, a descent into time, a descent into history.

20:26

This is mirrored metaphysically, roughly in an archetypal symbolic sense… in terms of Dante and the Inferno-Purgatorio-Paradiso cycle.

If you understand this.

20:52

So that’s what I got there. I’ll catch you on the next one.

The Psychosphere's Ambling Beauty: The Orphic Key of Basquiat to the Primordial Lock of Being, Quantum Mechanics of Ancient Mysticism & the Evolutionary Process of the Embodied Psyche of Cosmic Being

Oct 21, 2025

[]

00:01

So I want to condense these more and more, just reach their power and their essence quickly. So the concept here is… just going to call it psychosphere. And it’s going to be around this series of Basquiat drawings that I’m going to include here… to kind of continue this thread on Basquiat — because he is so essentially important in what we’re discussing here in this unity between cosmos and psyche and drawing out the inner nature of the essence through the psyche.

It’s a highly intuitive artistic creative process. And as we’ve discussed as far reaching as a Schrodinger, Einstein, Bohm, the greatest quantum physicists themselves have a deep appreciation for the intuitive and the artistic because they understand the importance of the drawing outward from within through attention.

00:58

The intuitive creative drive is itself a phenomenon of witnessing in a participatory universe and drawing out the inner essence and thus expunging the physical material and revealing the psychic pre-phenomenological essential.

Pre-cortextual, pre-contextual, I like that, energy. So this is Basquiat in naming the Orphic body. So here kind of what we’re talking about, and this is very nuanced, is that every form has a psychic wave form. And if we understand the universe as an energetic principle of transformation and transmutation, as in a nesting doll or a nesting cell of thermonuclear energy, radiation which is transforming down through scales, we understand that the sound waveform body is itself the fundamental principle of physical reality.

And is itself the physical incarnate form, including the human form. And this itself is a psychic status or condition of awareness as to the natural mechanics of the unfolding of the body. And as such, the creation, fermentation, and development of the brain as a sophisticated technological instrument of understanding, processing, intuiting, digesting, conceptualizing, and co-occurring with the grand principle and force of cosmological energy itself proper.

02:51

So this is the unity of cosmos and psyche. We discussed with Basquiat this moment of the transformative encounter of the brief horror of the revelation of being out from under the sedimental, as in the historical material appearance of being as in the human form as a genetic construct.

What we’re really talking about here is the transmutative encounter.

Encounter with the real mythic and poetic state of the psyche as an unfreezing of the pattern of repetition as in the unconscious history. This is a psychological phenomenon just as much as it is a natural genetic, deep historical deep time glacial phenomenon of the unfolding of the body as a sound wave form, as a language and a linguistic symbol and a sign.

Whether we’re here, we’re talking about a mountain.

03:19

We’re talking about a planet. We’re talking about a star.

03:26

This is a waveform body. So what Basquiat is doing, and this is the ancient Orphic principle, which we will discuss here, is bringing the disappearance or the energetic state of the waveform into the everyday through the image artifact or the sound wave body. Again, this is the Orphic, Orpheus as the musician who communes with nature, whose music is understood by the animals and the plants and the trees. And this is why, right, in a mythic sense… or the sound wave body of symbolic articulation, which allows the cosmos and psychic real, the cosmic and the psychic real to penetrate into the apparent sensate realm of the human as in conscious revelation of perception and perceiving, which again is making the real domain of the quantum physical, quantum mechanical, energetic realm apparent… as in the construct which informs the current state of apperception… vessel and vehicle and experience of the human.

04:26

This is again, this is the key to the lock or it is the unlocking of the profound underlying essential human experience, pre-human primordial experience of existence itself. And as such as the purgation of the stuck or static psychic condition of the presupposed normalcy of the historical every day, which is the sedimentary piling of genetic language, symbolic language, mountain tops, planets, star systems… in their predictable orbits or patterns of repetition, which are a gravitational field of the unconscious as in a historical repetition of same. And this of course, interestingly enough, is Basquiat’s graffiti name, Samo. Same old.

05:12

Right? So we’re getting into it here, it’s interesting. And as such, I am using the term psychosphere as in the True Detective season one. I really love that term, it’s brought up by Rust Cohle. He is a profoundly deeply intuitive observational listening and sensitive person, which historically is the role of the medicine person or the shaman.

And I want to, I’m going to get into this a little bit more again in the Orphic sense, because Orpheus himself is a… the archetype of the medicine person, the shaman. And so these, these Orphic rituals — particularly of musical transmutation through the naming of the energetic real as it is incarnate first and foremost as and in the sound wave… music itself being a direct communion with that energetic source and force is itself the… as in Rust Cohle in True Detective season one — which this manner and method of engagement with the deeper... a priori, prior to the phenomenological, as in the deeper hidden truth of things or reality of things, leads to the unveiling and revealing as in revelation of the undercurrent or the underlying psychic and deep physical conditions, which haunts the dormant body of the community or the civilization or the human being at large — which in the case of True Detective season one is this vast network of corruption which underlies the governance of this province in Louisiana.

06:50

So we’re talking about the historical healing of the sound wave through song as embodied revelation. And Basquiat is really… Basquiat, in the sense of his deep communion with musicians like Miles Davis, Basquiat himself is the is the visual song or the visual blues improvisation upon the canvas of the image of humanity and mankind, which is the liberating freedom of taking the inner elements, the inner structural elements of the human experience and depicting them more truly in a real feeling sense.

This is the historical role of the emergence of subjective art in Western civilizational history, which is a modernist construct. It’s a turning back in upon the self and reflecting upon the self and a withdrawal from the phenomenological physical reality which is seen as less real than the experiential being. And if you understand the foundational principles of quantum mechanics as in the participatory, experiential universe as a direct incarnation of the whole, this is a profound scientific truth co-emergent in unity with the scientific revolution of modernity in a Western hemispheric sense — both in terms of quantum mechanics and psychology. Experiential art and poetry has itself always been the bridge between these two realms. Astrophysics, quantum mechanics, and the psyche. And the language or the structural truths in and between them and as them as a grand cosmological whole.

08:03

Just looking at my notes here. Yes. So this is a revealing as in the Orphic function, as in bringing to consciousness, as in the creation of the sound wave form of the more true energetic revelation.

So this is out from under the appearance of things. The creation of the poetic image, which is either distilled in a drawing or sketch or a sound wave as in a song…

A more true energetic revelation as a representation of the signature of that which is, which is a revelation prior to and a priori the symbolic chain, as it is the unspoken unconscious manifestation or dormant sedimentary reality, which is revealed through the light of speaking into being that which is beyond appearing.

09:02

So this a vision. So when I talk about visionary subjectivities, I’m talking about the vision of reality in a clearer sense through the state of the subject or subjectivity as the lived, felt, feeling experience of the co-occurrence and total occurrence of reality in a quantum mechanical sense; of being utterly and indelibly enfolded into time and space time and Orphic psychic self extrication…

This in a cogent, clarified, distilled sense… which emerges through the psyche and the psyche’s engagement with the physical, physiological, phenomenological template of reality, the things that appear to be and thus a revelation out from under those forms, as is apparent in Basquiat’s mask drawings, right? Most essentially in regards to existential experience and cognition, the experience of the human body as vessel, aperture, and lens of consciousness and cognition itself. This process of self reflection is emergent. It is a hypertechnology of the body. The process of becoming clarified to the opacity of the body and its ancient history and profound functionality. That which is revealed is always already through itself. And this is a quantum mechanical axiom, profoundly so.

09:30

Or the drawings of the human face or the human body in Basquiat’s oeuvre, which themselves are usually isolated in space in these sketches and these drawings, which are his works on paper.

It’s revelation out from under that phenomenological structure, the skeleton of the human form, the real energetic state of being.

09:48

As in the world itself is a mask… and that’s what Basquiat is depicting — is not the mask, but the true appearance of being out from under the phenomenological mask of superficial or surface level seeing, is, is phenomenology, which is the physical incarnate realm and the seeming opacity, which is penetrated only by the deep intuitive shamanic or medicine person. I wager that many of these individuals in an ancient sense became not only the modern poets or visual artists or musicians — but also the burgeoning and emergent quantum mechanical physicists. This is a realm of inner interpenetration. An energetic realm and dimension fundamentally, as Einstein puts it, of intuitive seeing and imagination first. And this, as such, was always prioritized as a first order act and operation in his life.

Again is a, this is a ancient world medicine, ancestral healing, world historical phenomenon. This is present historically around the world as a sacred function of being. And this is the true roots of psychology far beyond the Western medical practice as a attempted historical material distillation of this profound spiritual and energetic process… as a descent into the psyche and energetic realm and performing poetic diagnoses as in an imagistic depiction. Drawing out, quite literally, the psychic energy into phenomenological life as in the appearance of the sacral form.

10:44

As in a drawing forth a revelation of the real inner condition of being as in feeling as in sensate embodied incarnate experiential experience… which is itself informing the physical as that itself is a stage or a status in time and as such a dislodgement of the temporary inhibitive status as an evolutionary block or leap.

It’s the structure that’s being presupposed by a psychic condition, which can be broken through by conscious awareness as in the depiction of the deeper inner reality.

11:14

And this again is… this is an emotional sense, a feeling… the psychic body itself is a form, but it is within the organism and is hyper penetrative in the sense that it has to be drawn out into and through language into depicting of experience… that the psychic body itself needs space to depict itself — because it’s necessarily a liberated body. It does not take to space time and yet it appears always already through and beneath it as its essential prelapsarian, pre-incarnate first principle. The liberated energetic form of being itself within, seeded within the form as in the gnostic divine spark of being itself proper.

And what I mean by the liberated body is that the psychic body… this is also the function of the dream, which is the poetic and true psychological function of energetic healing. It’s the breaking of the ground of the formal ground of the physical body, is… what the psyche does inherently and intuitive. It breaks gravity. It breaks the rules of space time.

And as such, as in terms of the symbolic chain of the representation of being is closer to fundamental and absolute spirit and consciousness. It does not obey the physical laws of the incarnate body. And as such is appearing through the incarnate phenomenological body of historical, genealogical, sedimentary density… as a profound form of liberation out from under this pseudo system of imprisonment as in, quite literally, the appearance of space-time as a phenomenology, as an aperture, as a way of seeing.

12:42

And I kind of want to draw closer to this with the modern psychologist and doctor Gabor Mate talking about illness in the body and cancer patients and repressed emotion.

So emotion is an energy that circulates. It’s the feeling experience of the body which itself informs the inner pressure and state and literal vibratory condition as in the sound wave form of the body itself. This is the temperature of the body. This is the constriction of the blood vessels. This is the patterns of the nervous system.

So you have to understand this is because this is very profound. It’s the experience, is the psychic condition is actually transforming the body. And this is the foundation of epigenetics. So this energy can become stuck in the body, which without continual articulation and expression, can’t be liberated without expression, without revelation of that, which it is itself. This is, quite literally, the condition of the unconscious human at a grand species level. It does not know that which it is, and thus is imprisoned falsely in that which it perceives itself to be.

And this is the historical importance of art… and how and where you see the shamanic figure, the medicine figure being the highly expressive creative figure who is themselves, in an ancient mythical Chironic sense — healing themselves… and through that self healing creating the actual possibility as in the expressive technology, the expressive vessel as in Basquiat really, of depicting the inner psychological state and condition of humanity or a human being and thus freeing them from that imprisonment.

13:57

And this is is again, this is why I say Orphic because this is Orpheus descending into hell to retrieve Eurydice.

14:05

And this is the function of the true music of history.

14:12

So I’m gonna keep going here. This is also a principle that’s manifest in Chinese energy medicine. And so what I’m gonna say here is there’s a profound polarity and a divide between the Eastern and Western hemispheres, because Western medicine fails to deduce true cause and causation as in a real interrogation into… as it would be discussed in Chinese medicine, the qi, or the energetic dimension — as in the character of being itself. Again, this is Heraclitus. This is deeply Heraclitean.

14:42

We’re talking about the character of being and how the character of being is being informed and expressed as an historical paradigm, which is manifesting materially or phenomenologically as a symptom.

So in Western medicine, the course of action is so often to treat the symptom, but not to interrogate the real energetic condition behind the emergence of the symptom. It’s a failure of logic process. And as such a failure of process to really treat and induce and understand the human being as a real appearance or appearance of the waveform. It’s a phenomenological state of the waveform as in an energetic condition. So that’s interrogation of the psychic body… because the psychic body itself both in a grand cosmological sense and in an intimate personal sense is that which informs the appearance of the body, entirely and holistically.

15:31

So this is, again, this is a failure of Western metaphysics and philosophy implicit in the architecture of Western medicine. None of this is separate. Western medicine is Descartes informed. So you’re looking at hypermaterialism at the expense of the real energetic conditions of being as in a prelapsarian Newtonianism. That’s what I wrote here.

A religion of devotion to symptom or form… or failure to do real diagnostic into the energetic status behind and thus preceding the appearance of form as in symptom.

So again what we just mentioned — and what I mean by prelapsarian Newtonianism… with risk of that being just complicated by the language. It’s actually deeply precise — is that we’re looking at a condition which, when we talk about the death of God in the sense of Nietzsche, we’re talking about a condition which has forgotten the primordial energetic, which again, this is the ancient world tribal function of the medicine person, of the healer or of the shaman.

It’s that they are living in that realm of the quantum mechanical as is so consistently and accurately depicted in the Tao or in the Gita.

16:48

We, in a modern sense, in a Western civilizational sense, what hypermaterialism is, is… it’s a loss of the real diagnostic chain and a failure to penetrate into the real state of being as in consciousness itself. It’s a failure to penetrate into real life and as such a deeper and deeper adherence into the purely imagistic, symbolic, dissociative dimension. And perhaps, paradoxically, the true wave form image of the psyche is what can set that condition free. The appearance or the vision of the inner image. And this brings to mind to me the Picture of Dorian Gray by Oscar Wilde as a profound example and diagnostic of Wilde’s age, time; vision of living into being.

And as such… always already just resides purely on the surface of that which things appear to be, which is a trance state or a somnambulism as I’ve described previously.

And so we, we just went into Basquiat and how important he is here… because he is — in a very real sense — a modern medicine person taking the guise of a Western art historical artist, visual artist, because what he’s doing is he’s depicting the real status of being as in the psyche. Basquiat is Wilde’s portrait painter of Dorian Gray. He is the metaphysician in the truest sense of the word as in a spiritual autopsy and diagnostic of the phenomenological opacity and failure of penetration of modernity and the human condition into the realm of the truth, or the energetic body.

And this is necessarily why Basquiat is free to see and to see to free. If you understand what I’m saying there — because he’s breaking every rule in the Western art historical canon. And all of this just appears to be the cultural churn of art and celebrity and the politics of the marketplace and the museum. And all of this is important in a political reading of Basquiat. But my reading of Basquiat is a spiritual reading at its root and foundation — where… what is so important in the work that he’s doing is he’s necessarily collapsing the phenomenological and revealing out from under history… as in Western art history, as in Western philosophy, the great and deep and ancient remembrance of the Greek or the Egyptian or the Native American or the ancient African or the Aztec and the Mayan — which is the mythic realm, the function of the dream realm, which is always already the psychic realm, which is a deeper inner penetration into the real existential physics.

18:43

The real existential pre-phenomenological physics, which is again the realm of the artist and the poet in the truest Orphic sense and form of that which is beyond the appearance of that which is, and the working with that true unity of the cosmic and psychic energy, which is the form and formation of all forms of existence. This is the practice of the quantum mechanical in action as a salvation. A true and profound salvation. Understand this. This goes back into the waveform function.

19:11

This goes back into losslessness.

19:15

This goes back into the understanding of the inherent music of the cosmos and… as a process of distillation and translation at a thermonuclear… metaphenomenological level.

19:35

This is ultimately described as the formless form in Eastern metaphysics… in so many words.

19:44

So.

This — we discussed the breaking of the formal ground as that pseudo system of imprisonment, and to free the real psychic energetic state of existence itself, again, out from under the genetic sedimentary body of history and material, right? This is a dormant truth, a dormant cosmological energetic truth hidden within the linguistic context of the genetic, the chemical, the elemental, which is itself a sort of frozen or amber state of the real energetic form of expression, which is necessarily eternal and infinite — this psychic energetic realm of the interlocution of all cosmic energy which has been imprisoned as in a chamber as in the human body… or imprismed…

This is deeply gnostic — to break into that code via the Orphic function… to elucidate and interlocute and thus free out from under those formal and phenomenological grounds the real being the transcendental being within the appearance of the physical form with all of its linguistic devices, genetic devices, the attributes which construct the appearance of the physical form as in a progression and progressive revelation out from under the sleeping unconscious state of being.

21:30

This is the awakening of nature. So when you see the ancient Greek frescoes of Orpheus playing his music with his lyre, surrounded by the animals who are listening.

This is incredibly important imagery.

Which is lost to artifice and it is absolutely not artifice… because what Orpheus is doing in these pictures, it is the function of the music as in the waveform that is enlightening at the primordial depths of the human being or the animal or nature of the cosmos itself, enlightening that which is to the condition of itself fundamentally in that foundation.

And thus is a profoundly liberatory practice of the psyche and the emergence of the liberated psyche into form, which is the free creational principle articulated in the Heraclitean axiom. The Aeon is a child at play with colored balls.

22:09

This freedom of the true essential state of the grand cosmological, the grand psychological, the grand psyche out from within the imprisoned and imprisoned chamber of the body.

Which is that which appears to be as it is constructed as a linguistic device down through deep glacial sedimentary history, natural history… of the process of recombination, which is unconscious nature enacting that very metaphysical axiom, that very metaphysical principle in the way that energy functions and recombines in terms of elemental and chemical configurations and genetic configurations in space and in time.

22:52

This is the grand epistemology and grand epi-gene-aeology of the cosmos. But this is an unconscious phenomenon — as nature itself is coming into consciousness of that which it is. This is the attempt to perceive, which is every single discipline, every single disciplinary science and philosophy of all of human history, to truly know.

To truly know and to truly experience truly knowing as in being itself. So this in many ways, as I was discussing earlier, is also Dante. Dante has been a big theme lately as well.

It’s the true psychic realm being revelated and made apparent via the poetic word and function as in an image making — a window into the energetic world which is beneath the realm of appearances, seeming appearances or unspoken status of being.

This is the absolute poetic function. And the poetic function is always already a psychological function.

24:02

Because it is a revelation of the psyche through the poetic image, which is a drawing out of the psychic body into space and into time as in a phenomenological emergence of the beast lurching towards Bethlehem or the revelation of the psychic function as an emergent phenomenon in the human body or in the animal or in nature itself… as the unconscious recombinatory principle of deep glacial genetic time. The psyche is quite literally bursting forth from the container of the human form as in a primordial revelation of the essence. And this is all of life as a pseudo-phenomenology unto revelation.

… spatial time, grand cosmological time, the energetic principles as elucidated in thermodynamics and stellar nucleosynthesis.

24:40

The character of the universe.

24:44

The metaphysical character of the universe as elucidated by Heraclitus.

24:49

The drawing out in real time… in relation to the historical material status of individuals, communities, cultures, civilizations, worlds, biomes, biospheres, habitats… star systems — the elucidation of that inner psychic and energetic character, and bringing that into the world of appearance, as in the emergence of the true nature, the… very… pre-symbolic state of being. The collapse of the representational unto the emergence of the utterly direct incarnational. No longer an image, or a mirror, but a direct holistic embodiment of the trans-incarnational, quasi-incarnational, absolute cosmo-psychological spiritual self of all being. A direct elucidation unbroken by linguistic translation as in the forgotten compression of space and time. And psyche is always oriented toward this.. out from under the sheathe and quality of the dormant phenomenological physical body in states of revelation out from under the sedimentary form which is itself a waveform warbling unto emergent speech…

Elucidating that direct connection to the pre-symbolic through the primordial symbolism of the poetic leap into the unconscious, into the energetic dimension, and drawing out that true depiction of the essential character in union with the grand cosmological and the grand psychological, and as such liberating the being, liberating the community, liberating the culture, liberating the civilization, liberating the cosmos.

26:04

Out from under the appearance of that which is which is the cyclical every day the repetition of the grand unconscious recombination in the glacial sense of the universal ambling toward revelation.

That’s what I got. I’ll catch you on the next one.

Joe McGinnity: Mud, Flesh, Machine -- The Philosophical & Psychological Mechanics of Industrial Modernity

Oct 23, 2025

[]

[]

00:01

So I’ve got a essay here that I think is going to tie a lot of things together at an even deeper level and plane.

The title here is Joe McGinnity, Mud, Flesh, Machine. And this is going to be the philosophical mechanics of industrial modernity and the dead ball era and the early American connection and relationship to the Hindu Vedantic tradition.

00:31

This is primarily about a vision of the body in the field at large… as in a unified field. So we’ve already we’ve already gone very, very, very deep into a cosmologically and psychologically unified field theory, which has substantial high level of vanguard scientific philosophical and world historical backing across civilizations and time scales. And we’ve discussed this.

When I’m talking about here kind of ushers back and gestures back to the Hegelian project, which we were pursuing in baseball history and culture, and visualizing through baseball history and culture, which is to say… the vision of the body — and the field is changing over time in relationship to emerging forms of consciousness as technology.

So we’re talking here about the effects of emerging industrial consciousness in the West, actually terraforming the human psyche — and that history itself is a field at work with the psychic field proper, which is to say the quantum mechanical field in a grand cosmological sense, but also the intimate psychological field of civilizations, cultures, communities, and individuals.

So this, this goes into ancestral trauma, right? Epigenetics, the concept of the technology of the human body as a genetic formula, which is being transmuted over time by interrelationship and relative interaction within the larger quantum field, which is being ritualized in a phenomenological sense of space time.

02:23

So what I’m talking about here, it does really so much help to have this visual aid — which is the Joe McGinnity press cabinet photograph which I’m depicting here… because I’m gonna ground this in the emergence of modern technology; in the form of early American industrial modernism as a field of being, right?

And so modernism is conventionally discussed as a literary phenomenon or even a visual arts phenomenon, but I’m suggesting it’s a consciousness phenomenon.

So this example, which is so profound here, is articulating a field of the body.

So when you look at the appearance of this formula, particularly the intersection of the Victorian cabinet photograph… which is being actively repurposed at the turn of the century for modern photojournalism and mass media — we are looking at a transmutation of the way that the body is conceived of in space time and transmitted. This returns us to losslessness and the lossy file — because we’re talking about image variations as in condensations and compressions of data and information and image transformations as in translations.

03:19

So this is all a way of interpreting and articulating and projecting and representing the body in space and in time in a cultural sense, which is also in a grand scale of consciousness sense.

So as you can see here in this cabinet photograph, we’re looking at the process of news media editing, which is isolating the figure of the subject in space with the white space that has surgically removed the form from its background and thus isolated the individual or the subject, which is the fundamental consciousness characteristic of modernity — which is a subjectification as in a form of analysis and evaluation of the human subject body as in the intimate individual experience removed from space-time as an artifact of space-time. It is a discussion of the intimate transcendental experience of the human being…

This is an inquiry into the human being. This is what we see with Virginia Woolf. This is what we see with T.S. Eliot.

04:16

We’re looking into the human being as a form of historical materialism but also as a transcendental totality or compression of all history and all time as an experience, a direct unmediated experience — beyond past and future, beyond body into the lived, felt, being experience being mediated by the human form as a genetic construct… a way of perceiving — which itself is the foundational ground of the Vedantic inquiry — into who am I, who is the I.

This is stripping away the sheaths of perception, which is to say the body or the mind, the voices of the mind, the culture, the biome of the human body and its ancestral history and its ancestral technology as a form and formation — into the direct field of awareness as a form of direct perception, experiential perception, as articulated by sages and mystics like Abhinavagupta and Siddharameshwar, who are really just fundamentally talking about the experience of the quantum mechanical in and as the human body directly, subjectively. The experience, therein and thereof, of the transcendental eternal — and even eternal presupposes a time to juxtapose or contrast the absence or lack or loss of time with. It’s a linguistic and language failure, as continually articulated by Taoist and Hindu sages.

05:13

So I’m gonna continue here.

05:17

This form of isolating the figure… just purely, right, because this is grounded in history. This is grounded in cultural history, material history, and the emergence of technology.

This is not an aesthetic statement as much as it is a functional statement. Much of human history is informed entirely by functionality with the rare exception of the aesthetic device as in the aesthetic experience which is the emergence of the transcendental as in the transcendental human experience above and through and beyond the human… if you understand this… as in the genius of the artist or the dream or the philosopher or metaphysician or scientist — all of whom pierce through the cosmological veil of the phenomenological experience itself into its full essential transcendental luster, its unbroken unity. These are all just modes of breaching the break.

Which we’ve gone into. The white space around the subject here, Joe McGinnity, is to extract the image for printing purposes — which is then replicated in production of mass media. And the reason to extract the image with white space is it makes the translation of the subject into the new form, into the complexified form of multiple images constellated on the newsprint page along with text… easier.

06:07

The process of that translation becomes easier. But again, what is lost is a continual isolation of the subject and subjectivity. It’s a flattening of the field. Dimensional loss in translation unto the flattened image devoid of context. A distillation into signifier.

Again, this is coded into modernity. This is the essential fundamental metaphysical, even esoteric, characteristic of modernity — which is then populating the entire phenomenological field and experience of modernity proper. It is the totemic consciousness status of modernity which is imbued into modernity itself as a historical period populated with shards, fragments, objects, fields of consciousness.

This is a lossy, again, into losslessness — lossy coding of the body into the image file, which is representational.

06:37

And what’s characteristic of modernity is the extension and extensions of symbolic chains of information as in technology. All technologies are prosthetics of the human experience, including the body, including the continual prosthetic addition to the mind, the brain — the forebrain, the hindbrain and its components, which are continually evolving, complexifying and articulating.

This is the lossy coding of the body into the image file, which is being here projected, right? This is not an illustration. This is the chemical light print of a photograph being isolated from its field with the white space, which is isolating the subject of Joe McGinnity. And then being edited again — this is, this is then being transformed further, beyond the photograph, beyond the photographic editing which is the isolation into newsprint…

Which is, again, compressing and condensing the image into a further simplification, a further distillation. And this distillation is into a dimensional collapse of form to reveal void, which is, again, a cosmological principle as we’ve talked about in terms of whole dynamics.

We’re replicating these essential metaphysical cosmological principles in the human experience in culture, progressively through time and through history, through the development, particularly — hyper accelerated in modernity, through the development of industrial technology.

08:05

Specifically, in this case, industrial media technology as a way and form of image representation. The representation of the image is the cultural artifact of the articulation of a status of consciousness. And this is most easily visualized in the evolution of a master painter like Picasso or Rembrandt. The change over time is the change in the articulation and thus the transformation and transmutation of the field of consciousness proper, which is projecting the image as in manifestation of form and formal language of being in time as in gesture of consciousness into the field — again, a teleology, a technology — into space and into time.

This is the phenomenological unity of cosmos and psyche. If you understand this… because the psyche itself is the entire cosmological field, fundamentally — first and foremost pre-phenomenological.

08:48

So when we’re talking about this lossy translation… is a technology, this industrial news media technology, which is bursting into view at the very turn of the 1900s… is an esoteric interrogation into the body consciousness absolutely.

Again, as we discussed, as in the Vedantic sheaths of consciousness, as they pertain to phenomenological appearance of form. This is stripping away the apparent, as Blake would say, printing with the infernal method, technologies and methods that are salutary and medicinal — to melt away the appearance of things to grasp the hidden essence. And this is the Vedantic scientific method — of stripping away the forms of body, mind, culture to perceive who am I? What am I fundamentally? This is to reach a real experiential, existential understanding of the field of consciousness itself proper, beyond the appearance of separation as in the development and acculturation and cultivation of the organism as a pseudo private entity, as a field of sensate experience and a vision of being which itself — is necessarily, again, as Blake says, closed off as in perceiving through chinks in the cavern.

This is the spiritual principle also articulated by Einstein when he discusses the delusion that the human being is somehow separated or cut off as an organism from the larger cosmological. This is a form of existential perception or apperception or incomplete perception or self cognition and understanding. And that this spiritual principle… or the work that’s even present in manifest in science is a return and a real understanding of that holistic nature. That’s a paraphrase.

10:41

So, consciousness — and this is what’s so profound here, especially with this turn of the century cabinet photo… which is actively being transformed and transforming into a mass media device, the cabinet photo in a Victorian sense was a private documentary artifact, usually ancestral or familial or within a small community or small group.

The cabinet photo here is being used as a board to instigate and withdraw and draw out the image into a mass media form, which is the newsprint and photojournalistic technology of the turn of the century modernity.

11:09

So we’re looking at consciousness itself, again — draw this back to psychic transformation at a mass scale, right?

History itself is a mass psychic transformation over time… and the acceleration and hyper acceleration that modernity produces in the emergence of industrial technologies, which terraform and reconfigure that field of consciousness — this emergence is a recombination of the element into forms which illuminate; make more efficient, lift density into hyperspace; warp time and space into quantum immediacy. Alight the world. This is everything from lightbulbs to the density of coal to the factory, the telephone, the car, the airplane — into the computer.

11:38

Technology is always already a prosthetic which changes the field of awareness. And again, you can look at Galileo and Copernicus as examples of this… astronomy itself, transfiguring the cosmological awareness and thus changing the way that the human being perceived itself.

Consciousness as a historically aesthetic principle of emergence of new realities.

What I mean by historically aesthetic is that it is manifest in the appearance of history as the phenomenological object. That phenomenological object is a totem of the status of consciousness itself. It is projecting the status of consciousness itself from which it is emerging and embodying actively.

12:07

This is the power of historical artifacts. It’s the secret… kind of sacral hidden sense. The soul of a cultural artifact is its status of consciousness from which and from when it emerged. Imbued, as John Milton would say, with the fiftessence. And when he says fiftessence, he means soul.

And he discusses this in terms of the artifact of the book. The book is imbued with the soul of the author, the one who creates it. And this is precisely what we’re talking about in terms of… cosmological, the grand cosmological phenomenology of all life and all of existence — that which appears to be is imbued with the status of consciousness, the transcendental figuration of consciousness — which is to say the a priori psychic condition of that which is creating it.

And this is the way that we shift the way that we think about humanity via consciousness, via awareness.

13:06

Which is the mirror, which changes perception.

And this is articulated in the hypermodern sense with AI or personal digital technology. Whether that’s computers or touch screen cell phones.

So… and I wanna connect this here and there’s this radical connection — because when we’re talking about this entire field… we’re talking ultimately and fundamentally about the physical body as the primary technology of the human being.

This gets me into Gabor Mate, who I’m bringing up again in the connection between emotions, psychology, psyche, and the physical body, as in the experience of the individual. Again, experiential process being primary and that experience itself is that which is actively changing the physical body. At the most immediate, participatory, fundamental level of life itself unbroken from the symbolic. The symbolic is a relic of the representational field. There is fundamentally no idea beyond the immediate field.

And this is the foundation of epigenetics. This is profoundly widely studied and understood. It penetrates all levels of being imminently.

14:27

And I’m just expanding this… to a grand historical deep time, deep space, glacial cosmological context. I’m saying consciousness is fundamentally the template for the form that consciousness itself. And if we were going to talk about a grand cosmological mind, as in the field itself, the psychic field — as primary to the phenomenological appearance of things… which is always temporal, which is always being altered actively through space-time relative interaction… which is changing conditions of form.

This, you could say, grand cosmic mind or the psyche itself… through revelation and awareness of that which it is, which is a process of distillation. Obfuscation and revelation through technologies it creates, which mirrors itself back to itself.

This is the idea of technology as networks of information, which are recreating the fundamental synaptic and neurological condition of human beings, as well as the interstellar relationships of solar systems and galaxies. Everything is connected to everything else in a fractal, scalar network of the reproduction of the essential principle, linguistically translated down through densities which are themselves cosmos and fields of being.

15:16

These are networks of information which are self-replicating, self-reproducing at different levels of cognition in terms of a scalar phenomenon.

Again, scalar being cosmos and psyche.

So this revelation… this is an awareness of awareness itself — the deeper, prelapsarian, prematerial understanding of the true forces at work, the primary forces in form of psyche itself.

And this is why you have... mystics like Abhinavagupta articulating the direct experience of the quantum field, or the unified field, hundreds and thousands of years ago — but you have the scientific, in terms of the scientific method development of the awareness of the quantum field, working backwards through the opacity of physical experience… working backwards through the opacity of the physical body, such as da Vinci’s work on the anatomy, or Copernicus and Galileo’s work on the cosmos and into Newton, right? Who works off of Kepler as a base and foundation — who again is a cosmologist — working back through Newton and Newton’s real project… which is an esoteric awareness of that which is itself.

Newton is attempting to penetrate into phenomenology using such fields as… ancient and medieval alchemy — to understand the real relationship of the cosmos and the real way that consciousness transforms. He, in many ways, anticipates not only quantum mechanics but Carl Jung.

16:45

The Newtonian project is, interestingly enough, perhaps most inherited in the coming century with and by Hegel, in terms of how we’re talking about the spirit of the age and the transformation of the spirit of the ages as manifest over time as in the real movement and progress and progressive arc of history and time itself as a clarification and distillation of the essential and essential quantum character and configuration of being itself — a coming into view phenomeno-technologically of the real — which is visualized phenomenologically through the grand cultural artifact of the cosmos itself… which is really just a change of status of consciousness and time in terms of an impending emerging revelation… through the technology of the cosmos as itself-perceiving itself.

17:15

So we’re looking here at the industrial revolution in relationship to this pseudo cabinet photo — the pseudo cabinet photo which is really a origin object for mass media, mass image media production in terms of news media photography… the industrial revolution and the vision of the body — this transformation that occurs in the specific grounded historical material moment in time.

And the media consciousness which is imbued in this object — because it has a very specific aesthetic field. It has a very specific aesthetic presence, and it’s communicating and articulating something profoundly revolutionary, it’s actively changing clothes.

It’s no longer a cabinet photo and it’s not yet a mass newsprint media device, which we come to know just specifically as the press photograph with its typical newsprint taglines on the back of the object and often just itself just on the photographic printing paper without backing; into the wire photograph as a further lossy file through wire transmission of images; away from silver gelatin to newsprint direct transmission of a dark room rendered artisan photo. This is away from photography as an artistry of capture and rendering into a technological automation and hijacking of the handmade. This is anticipating digitization and artificial intelligence. There’s a secret gravity here in the industrial reproduction of the image and what the industrial reproduction of the image is saying and doing about the human self and its deeper awareness of that which it fundamentally is. It’s a dark mirror, manifest in hypermodernity with the digital screen and the shapeshifting of milliseconds of pixelated light, once held in place with silver and plate chromolithography as a static, and yet interpretive image of space-time, flattened into the representative, illustrative, snapshot mode of being isolated in and from time.

18:36

The modern news media photograph… it’s not backed by a cabinet photo and progressively becomes less and less marked up by news editors. Into total digitization of capture and articulation; even into the disappearance of the newspaper format itself — for web review. Trace this progression with me here…

So this media consciousness that’s imbued in objects, again, to return to John Milton and the idea of the fiftessence — is a real profound object theory of the signature of a larger cosmo-synaptic unfolding of consciousness.

And we’re articulating this and locating this in a very specific cultural moment. But what I’m suggesting here and articulating here and saying is… that larger cosmological unfolding itself phenomenologically is just a mass cultural trace of the technological transformation of psyche in and through the field of space time as a phenomenological emergence, as a formal emergence. This is, again, absolutely glacial in the universal sense. It’s an alphabet, as in a symbolic register — which is articulating beneath the appearance of the symbol as an aesthetic and as a wave form, right? A quantum wave form sound articulating a status of consciousness itself.

19:29

This is the primary field. It’s pulling the object back through the primary field. And when you encounter an object like this McGinnity cabinet mass media photograph, you’re looking at a paradigm shift in real time, which is articulating a strange revelation in the sense that it’s so particular.

You pull this out of history… in the field of history, it’s between revolutionary worlds, it’s between paradigms. And as such is a clarified high contrast chiaroscurotic object, which is articulating this process of transformation — just as we would discuss, in the ages of revolutions themselves — whether it’s the Haitian or the French or the American, we’re looking at a paradigm shift through this hyper-exaggerated phenomenology of war, we could say… just as much as we could say as of the revelation of Picasso’s turn towards his specific articulation of Cubism.

We’re looking at these revolutions in perception, which are then embodied in the field of being phenomenologically through an event, as in the Revolutionary War in America, or the event of the painting as a distillation of the concept of the articulation of the gesture into space-time as a movement or emergence of the psyche into gravity — as in Picasso’s Guernica, right?

20:56

So these are all hyper-located in an anthropological sense in the field of the human being in terms of modern and early modern culture, but we’re talking about a larger phenomenon absolutely.

This is a larger grand cosmological principle, which is manifesting through the body in and upon reflection, in and upon the body, as in praxis or a way of being in space-time, as in, ultimately ,a philosophy of athletics in a pure aesthetic sense — which is moving through space-time with increasing presence of articulation.

Which is to sa, in many ways the philosophical idea or concept of grace as in an interrelationship with the grand cosmological whole synthesis and symphony and a real apprehension and apprehension of that in terms of embodiment.

This is an embodied practice. Again, right, this returns us to the existential field of the perception of awareness itself.

21:53

And thus an articulation through the cultural object of the human being itself as a technology of this grand cosmological psychological unity… and as such an embodiment and practice of that field of being as in the real articulated conscious revelation of understanding.

And this is always already athletic because it always already is movement based.

22:19

We’re talking about… just as much an athletics of the mind as an athletics of the body. It’s a total field principle. It’s holistic. And this returns us deeply to the principles of the Tao and the Vedanta, which are, again, articulations of the quantum field through the experiential register of the mystic or the sage.

So there’s a profound unity here.

22:48

And what I’m trying to get to in many ways is that the use of Joe McGinnity here in this specific object is so incredibly important. It’s almost a... transcendental or synchronistic in terms of McGinnity being a transient coal field worker and laborer who experiences profound tragedies in these early coal fields. As an industrial laborer, again, a lot of this early modern American baseball, a lot of these… the most profound and influential figures are born from the coal mines and the factories of early modern industrial America.

What I’m suggesting here is this is a field of historical presence and transmutation of consciousness through the radical hyperacceleration of technology and technologies… which is simultaneously, in a profoundly unbroken and immediate sense — radically changing the way that the human being relates to the body, conceptualizes the body.

And this is particularly present and particularly important in the sense of... this change that occurs with early 20th century industrial values, which are a reflection of the emergent technologies… which are radically shifting and changing and reconfiguring the way that the human being relates to itself, the body by way of consciousness revelation — drawing consciousness out into different possibilities, fields… technologically, as in the appearance in space and the way that the body is practiced ritualistically in time, which is to say the everyday.

This is just as much artificial intelligence and computational devices as it is the invention of coal fields and coal mines to power this industrial supercenter of... say eastern seaboard America at the turn of the century and springing up these massive industrial metropolises such as New York City.

We’re talking about the change of the revelation of the body as is articulated in Marx most profoundly in his Grundrisse — when he says that the man becomes the machine. There’s a form of profound love in the sense that the body becomes the tool or the mechanism or the instrument or the metallic or chromatic body in repetitive motion… and the will, the thermodynamic will as in the passion of the body which is metabolic, which is also thermonuclear in a grand radiation sense in terms of the star that powers it in terms of the solar system, that will itself becomes an engine of the machine and the mechanism which becomes the man. This directly translates to how man is ordered in nature toward biological drives — such as sex, food, et cetera.

And this is precisely what Marx articulates in his critique of early industrialism, right? It’s an extension of the drive into an aesthetic realm of repetitive labor unto modes of production which are radically ulterior from the Edenic animal — and as such are a divorce, a symbolic currency, a break of the chain in being toward the alien, the robotic, the mechanical reproduction. And fascinatingly enough, McGinnity’s nickname is ‘Iron Man’ — which he declared himself to be, ‘I am an iron man’ — when he was asked who he was… because he worked in the iron foundry during the baseball offseason.

25:39

And early industrialization, in terms of the creation of these tools… which radically changed the way that being is produced as a mode of experience, just as much as it changes the way that labor itself produces cultural objects, artifacts, and civilization itself as a product… of sculpting, building, whether that’s brickwork, whether that’s the light bulb, whether that’s the aqueduct, right?

Because this is an active terraforming of the field of being that is experiencing itself locally through this environmental network of different technologies, such as a Gothic cathedral, which is really an aesthetic revelation of being and a participation in this increasingly complexifying, super modifying realm of being, which is to say all of the different technologies which are emerging through the human being, which is itself a primary technology of the cosmos as in a genetic, chemical and elemental and thermonuclear construction of a form.

Itself, a linguistic, a letter, a language, a speech a vowel and a symbol.

26:56

So we’re looking there at this process of terraforming the psyche via the real — right, again, this is supra body… the real consciousness, which is the entire field of being, which is the grand psyche or the grand psychological, which you could also just say is the cosmological, the unified field of being.

And this is a historical becoming of consciousness, which here we’re locating in early modern industrial America through this turn toward the mass news media image and this moment at which the photographic form in a Victorian quietude and provincialism is torn asunder from a private media object; into a mass produced media object — and the way that that actually changes the way the photograph formally manifests in space and time as a reflection of reality, truth, self, and the human experience.

Just the same as we look at Picasso — and it’s very different from the era of the divine right of kings or the patronhood of the former portrait masters prior to this revolutionary modern industrial mechanical turn… which is a profound shift in the architecture of being, which is then manifesting itself aesthetically and phenomenologically in the field of direct perception and the way that the body is and the human being and the mind is… relating to it as in a sphere or level of realization of the great and absolute totality of the body in a grand psychic sense.

28:19

So this is a historical becoming consciousness — and a historical becoming conscious of the terrain reflected in the documents of the images, which refract the emergent techno industrial body consciousness as an increasing revelation of pure mind, as in the quantum physical and the Vedantic. It’s refracting this total pure revelation back to us in stages… because this technology is, in stages, stripping back, like a paint thinner, stripping back the phenomenological apparent into increasing revelations of techno digital proficiency, which itself is a high abstraction.

It’s a pulling out of consciousness, over and out of this field of density. And what these images, these industrial modern images are progressively doing is lightening the form. There, again, as we discussed in terms of the lossy file… through this turn of the Victorian era into the newsprint form of the photograph, it is a progressive translation into decreasing densities as in a breaking in of space-time to increasing totalizing proximity of the infinite, or the total, absolute self — a pure articulation of the absolute symbolic status of that which is, and then finally a ripping away of the symbolic status into an utter imagelessness, which again, in the Vedantic sense, is the void, or in the Tao, is itself the Tao —

29:43

The grand field of being itself… and a total pure articulation of the singularity, which is suggested to us by Hegel as the end of history. And the end of history is just the articulation of being, which is itself the abolition of time to reveal the formless eternal.

Again, a retrieval of the pure absolute technological instrument of being itself proper.

30:12

So this is prior to technology… and technology itself being the symbolic order, the symbolic steps of articulation.

Which itself… are an increasing complexification unto the revelation of being itself. And this is articulated most clearly in the appearance of the human form, the appearance of the genetic human form as a spelling. It’s a threaded spelling.

That’s what the gene is, the genome. So again, psyche in the pure form as a priori to the cosmos and to cosmos in the sense that cosmos is the phenomenological form, and psyche is the quantum mechanical force and force field and beyond force, presence…

This presence that is beyond matter, which itself is matter, first before matter — intimately articulating and informing matter and is the grand status behind the symbolism of matter, which is again a phenomenological appearance as in a spelling, which informs matter and transforms matter absolutely.

31:28

And this is what is incarnate in the historical aesthetic object absolutely as well… from the human being to this, the early modern cabinet photograph of Joe McGinnity.

That in the moments of transformation, which is to say a species evolution or a moment in time in cultural history where one method and mode breaks into the other in this process of chaotic absolution and shape shifting… the fundamental ontological gravity of the historical object, its very aesthetic principle is being transformed and transmuted in real time.

The McGinnity… it is… stuck between these stages, this sort of uterine consciousness between the caterpillar and the butterfly, so to speak. This is, axiomatically… this is history as an emergent of the absolute.

32:06

In terms of paradigms, condensations of entire historical movements, which themselves are species epochs or empire epochs or epochs of technology.

And then the moment that they condense and distill into this absolute singularity as in a point or a convergence of thesis and synthesis… and twist and birth and emerge in a vortex sense, an entirely new form — which itself is springboarding out of, in terms of an increased proficiency of articulation, the previous paradigm. It has condensed and condensated the originary idea in and through the arc of its emergence, revelation, articulation, and assimilation; has then begun the process of iterating upon the new status as an incorporated holism of form… as an innovation, a technological innovation.

It’s always a revolution of language as the foundation.

32:40

These emergent qualities are as in techno and technique, which are essentially revealing by way of the increased apparatus.

So you could think of the telescopic arm of Galileo and what that does to the collective consciousness in terms of a real revelation of the true cosmological, psychological status of being itself, because that cosmology, much in the way of Copernicus as well… that cosmology reflects and inverts back upon the grand existential psychological question of human being itself. It reveals and breaks the presumed and deepens the field of vision in terms of a collective psychic status of being itself revealed nakedly as truth. And beneath the appearance of the sun, Cecelia Payne-Gaposchkin’s articulation at the turn of the century of the real process and processes and makeup of the sun and stars itself. This is an entire progressive field of revelation which is history… a deepening of the field of vision unto and toward the absolute as in a real mystical consciousness and unified field vision of the true grand cosmological psyche and psychic self, which is collapsing in on itself through the true perception of being.

And this is unveiling the latent aspects behind and through technique and technology, vis-a-vis the quality of reflection… which again goes back to losslessness and this kind of beautiful paradox and profound paradox of the transformation and translation and transmutation of the body… and the image reflection of the body… is deeply manifest in painting, photography; the mirror. And this is all ultimately self-concept, if you understand this. It’s gradual revelation beneath the thorns of history and time which prick the body unconscious.

34:21

This is all ultimately grand psychological self-concept in a universal sense as well as in a personal, intimate, psychological… ambling toward revelation of the true status, absolutely.

And this is all reflected in and through the idea of the body, the world, the form… and thus phenomenology through methodology.

This is a progressive praxis. This is the grand science of the human experience. Experimentation, revelation. Experimentation, revelation.

This is the technological… technological ambling of the human body in a Darwinian sense, in terms of a biological evolution, but also of human culture in a McLuhan sense, in terms of the technology and media as reflection. As McLuhan says, right, medium is message. The Darwinian, the astrophysical, the McLuhan, and the psychoanalytic; depth psychological and world mythic — these are all the same reflection down at scales.

35:01

So this is… in whole the scientific method of the historical body of consciousness itself proper and body consciousness into total revelation of being.

This is the species lapsing in on itself folding in on itself. This is the psychological articulation of the wormhole incarnationally.

35:30

Interrogating into the body between the springs of birth and death to perceive and grasp the absolute, which is always already itself thus an absolution.

35:44

And that’s what I got there. I’ll catch you on the next one.

Baseball: The Pure Aesthetics of the Costume of Play & the Theatre of Achieving Absolute Escape Velocity of Consciousness of Being

Oct 24, 2025

[]

00:01

So I want to talk a little bit about the emergence of baseball as really what amounts to a purely aesthetic phenomenon. And it’s fascinating specifically because baseball is dressed up in clothes. And this is really what culture is. It’s clothes for the biological, which is really a cosmological, as in psychological, evolution of the organism in terms of a coming into consciousness.

And this, this returns us to the aspect and element of radical play, which I think has been at the forefront of this entire project… which is to say an interlocution and interjection into the foundations of being as it is manifest in history and time.

And we’ve talked about nature itself as a culture — and that… there’s a fantastic duality of the term culture and the idea of a bacterial culture or cellular culture, even an ecosystemic culture, which is the sort of rules of operation which are inherent and apparent behind the phenomenological manifestation of the system operation of the organism or the ecosystem… as in a jungle or a terrarium or a cosmological solar system — even an atomic order, right, or a molecular cellular order.

And this is what culture is. It’s the organizing operating system of any given sphere of influence. So we can think of baseball as a cultural sphere of influence as it pertains to the Western hemisphere — which radically expands into the Eastern hemisphere, particularly with the tours of Japan conducted by Babe Ruth and his teams of all-stars.

01:57

So. What I want to talk about here is the clothes that baseball wears. And this is obviously the same as the clothes of Marx’s 18th Brumaire… in the sense that he says history occurs once as tragedy, second as farce, and it returns wearing the same clothes. He’s talking about this in terms of military uniforms and empires and emperors.

Here, really, what I’m talking about is the aesthetic clothes of play, which are native to baseball, which is itself the athletic garment. And so the image I’m giving you here of the 1897 Boston Beaneaters, this cabinet photograph, is of an organism wearing the cultural clothing — which is atop — as in a technology, right, a scaffolding or a prosthetic or a systems process… which is building on top of the fundamental biological, metabolic, cellular, chemical and elemental clothing of the human being as itself a star system nesting doll… thermonuclear thermodynamic nesting doll effect.

And when we look at baseball as a radical political and cultural device, we’re looking about a movement into play in terms of an organizing ethical force and moral construct within history and within civilization. And the entire reason for civilization to me is summed in the entity of baseball, which is the cultivation of the ability to play consciously as in the rule systems which govern baseball. The practice of adhering to those rule systems and acculturating oneself to a community of others as in a network of mutual responsibility as a ecosystem.

Symbiosis, which is native to spheres of biotic interrelationship which excel, which is to say that the biome itself is mutually self-supporting with all of the entities therein. We’re talking here about systems processes — and this is where it gets very granular, because any system process must be contributive to the success of the whole. Which is to say any organism within that process, any cellular movement within that process, any neural movement… any bacterial or organ movement must be in symbiotic synthesis to perform an advanced practice of the whole being itself.

And this is something that is native to the left brain, right brain relationship in instances of profound genius where intuition intersects with the rational, which is to say the analytical and the logical. This is well researched in terms of neuroscience.

05:07

So we’re talking about the being coming into unity with itself through cultural theater, which is the advent of baseball. And this is what’s so interesting in terms of the Beaux Arts aesthetic depiction of the Boston baseball club here by Elmer Chickering, the well renowned, highly professional, high arts and high society aesthetic photographer.

What we’re talking about here is this realization, especially at the turn of the century, which is a turn of the epoch of Oscar Wilde… it’s a turn from the Victorian into the modern. And this is the time of the Beaux Arts movement. This is a time of a strange transformation which is occurring in the technological mind of the human being as it pertains to the revelation of that which it is through industry, industrial technology; particularly the photograph — as well as the factory and the expansion of the mind through a larger ecosystemic awareness in terms of a global interrelationship, which is really the period bookended in American civilization and American history between the Civil War and World War I, which is to say an increasingly incorporated, integrative, and integral awareness of that which is in terms of a larger sense and concept of humanity and human culture, where the human being and the organism is being radically delocalized and situated within a larger process of knowledge and information which is necessarily not immediately and directly absorbed by the sensate body and must necessarily be conceptualized, abstractly ritualized in terms of a framework of consciousness where the being itself in terms of a subjectivity, right, the grounded organism with its neural processes, its organs and its senses…

Is being systematically, by way of this churn of modern industrial society and global consciousness, lifted out of its local network, its local organizing framework as in a rural agrarian, pre-modern consciousness of the grounded animal body and organism sensate organ body and being transmuted and lifted into a global consciousness in which the human being becomes an abstract device and mechanism. And this is precisely the groundwork we are tracing today and into today with personal cellular devices, the internet, and the radical abstraction of subjectivity into increasingly simplified dimensional, cellular, archetypal, and symbolic letter-forms. The human being is being compressed into an elemental linguistic hyperspace… in which it no longer exists but as an abstract concept outside of space-time. The body is being left behind for the lightspeed of the flashing screen and the synaptic register of the mind; the chemical immediacy of convenient synchronicity between the transcendental ideal and the appearance of the transcendental ideal in the compressed form of the light image. This is digital information.

08:15

There’s a split consciousness that occurs here, which is itself why you will hear modernity referred to in critical circles as a form of schizophrenia — it is a schizophrenic device… because what it does is it separates the subject from its ontology, which is to say the body, and radically delocalizes it into a larger network of interrelated systems, organisms, and processes of which it necessarily must conceptualize. This is simultaneously globalization as in modernity and technological modernity as in light consciousness.

So the human being now in modernity lives in a conceptual reality of archetypes, architecture, projected screen, and metaphor — to attempt to construct and understand its world as it’s been thrown into by way of information networks and information systems.

And as the 20th century turns, information technologies — which situate the organism into a larger cosmology than it can adequately conceptualize in the physical body and perceive in the physical world. It is an explosion of the grounds of historical being in form and in time by the biological rhythm of the human being organism and animal grounded by its neurology, its chemicality, and its organ network of transmutation of physical being as in processing, digestion, nutrition, metabolism, and sustaining of the heat and bloodflow and information flow of the firm form, the incarnate form.

09:26

So this is again, this is a radical rupture, elucidated architectonically by quantum mechanics; elucidated again phenomenologically in World War I and World War II, but beyond that, aesthetically… in the arts movements of Cubism, Surrealism, and even Dadaism in terms of a destruction and death of the system of values which formerly governed the agrarian localized human tribal consciousness, which is broken through the technological device and aperture, the prosthetic of modernity.

And so this is the turn that you witness at the turn of the 1900s. Existentialism and nihilism as modes of consciousness are a collective outcropping and consequence of this bio-systemic collapse at the level of consciousness filtered into the mode of the everyday.

And what I mean by this is that this is a hinge at which the human being is actively achieving hyperspace. It is reflecting upon itself — no longer with the garments of the survivalism of war, but with the garments of the aesthetic play of baseball as a collective unity, which is to say, a aestheticized community, which is the baseball team. This is an arbitrary community of individuals who are at work together to achieve a common goal.

10:32

Which is a nonsense goal. It’s loosely tied to survival in terms of the salaries that these players achieve, yes, but it’s a common goal to achieve… in the case of the Beaneaters, the National League Championship over the Baltimore Orioles.

This is entirely an aesthetic realm. This is entirely theatrical realm… which is divorced from the everyday concerns of the organism, as in the realities of nature, the biological realities of nature. And it has been inserted into an aesthetic cultural dialogue, which is equivocal and equivalent to mythology in history and mythology in time.

Everything from the creation of the baseball stadium to the aesthetic practice of baseball and the theatrical uniforms worn in the aesthetic practice of baseball, create — in an ulterior aesthetic dimension — the possibilities of the evolution of human consciousness by achieving hyperspace through the utilization of the human being biome and biology.

To achieve an aesthetic goal, wearing aesthetic clothes in an aesthetic realm… which is an entire ulteriority, it’s effectively a dream state of consciousness.

11:46

And it’s no coincidence that this formation of the cultural identity of baseball as it lurches into the 20th century is occurring alongside leading edge thinkers like Charles Baudelaire or Edgar Allan Poe or Nietzsche or as we discussed, Oscar Wilde. Because these are all dialogues that are reflecting upon and back into — particularly with Edgar Allan Poe in terms of the dream, or Oscar Wilde in terms of The Picture of Dorian Gray, or Nietzsche discussing the death of God and the radical transvaluation of values of the human being, man being a tightrope between beast and God, and Baudelaire himself with The Flowers of Evil…

They are reaching into the aesthetic mythic dimension in an age where the aesthetic mythic dimension is being systematically dislocated and de-regionalized and deconstructed from the world historical local and agrarian and tribal enclaves of storytelling and cultural systems construction at the level of the locality of the physical body in space-time — which inevitably culminates 50 years later with the philosophical existentialism; literary and visual arts existentialism of the mid 20th century. This is when this radical break is being firmly grounded and made conscious and elucidated through speech and language of pattern recognition of history and the effects therein upon the human subject proper as in Camus and Sartre. And again, it is no coincidence at this time that baseball is firmly cemented, utterly and absolutely, in its American Golden Age of greatness, genius, and collective, communal, and cultural mythic consciousness as a representative device of the triumphant modern American psyche; self identity formation.

13:13

This is a delocation of the former mythic consciousness, which is systematized culturally in a series of creation myths in a world historical sense.

And this delocation of these regional tribal myths is being… there is a psychological scramble at a collective systemic level — at the level of terror and the loss of psychic foundation and existential foundation… the equivalent of a mass religious break in meaning and value and identity formation — a fracture in identity of self in expansion of self concept… which is symbolized in World War I and World War II — to relocate the ground of truth in a world in which there is… it has expanded.

There’s been a quantum expansion in the philosophical and psychological aperture of the human being due to industrial technology, which is the increase of globalization as in modernity and modernization as a psychological and consciousness technology proper by the compression of space time through cars, planes, the light bulb… into information technology such as computing and then quantum computing and artificial intelligence.

This is a decompression of space time and opening up of the aperture of the vessel of consciousness — which is radically again, relocating, delocating… almost, again, in the schizophrenic sense of modernity, dislocating the human being conscious experience from the aperture of the physical body into a hyperspace of the necessary perception of a greater, grander, more complete and thus more abstract — in the sense of being delocated from the subject body, which is the sensate body — into this aperture which now expands the conflict between self and world, the vision of self and world. Notice how this sounds a lot like a blood vessel opening. This is an increase in the flow of information network. An expansion of the term locally. A widening of the lens or aperture. And in many ways, much as this is a salve as in a revelation of reality, it is a spiritual and existential crisis of meaning and being as in the emergence of the transcendental… the increasingly transcendental… which has to be ordered and metabolized in the cosmological psyche of the being and organism.

As in… a radically complex revelation that’s occurring within the human being psyche — of this greater, grander, more totalizing and increasingly more clear and coherent series of interconnected nodes, which compose the entire space-time architecture of existence itself. This is like a small animal glimpsing the true order of the cosmological architecture of being itself as in the character of the stars and their intergalactic organization, architecture, and relationship. This is a scalar metabolism and digestion of profound systems revelation into the metabolic architecture of the historical, genetic evolutionary being. This is orders of magnitude.

15:08

And this is a forced process which is hyper accelerated by modernity and industrial modernity. If you can understand this — because this is not just theoretical, this is not just abstract… this is a real experience of consciousness expansion. Due to the technologies which ritualize this into the everyday… this affects everyone from the butcher to the baseball player to the physicist.

Because the architecture of the real is being blown apart by devices which are breaking the ritualized agrarian notions of space time. And you can understand this most clearly in terms of the light bulb. The invention of the light bulb changes time. There’s no longer a reliance on the space time mechanism of the sun as a gravitational field.

Ritualized in miniature, the appearance of the sun — which then is advanced exponentially in the invention of the atom bomb. We are moving from representation into incarnation. In terms of the literal force and character in terms of orders of scale of the representation of the real subatomic principles and character of being itself emergent in and into time. Historical material time. Incarnating in and upon anthropological and anthropomorphic reality. This is what is meant by appearance in history as a microcosm of being in time.

16:14

This is an increasing sophistication of the ritualization in miniature… of the foundational rules and regulations of space time, which is a breaking into the code of existence, which is the formerly agrarian mode of consciousness.

And in the same way, with baseball as a cultural technology, you have a grounding of the historical philosophical metaphysics… which undergird human societies and communities into history and into time as an active mythologization… which emerges these modern industrial heroic figures, such as Lou Gehrig or Ty Cobb or Honus Wagner, who are products of this industrial modernity as in their personal lives themselves as experiences of the emergence of this techno-industrial machine of hyper-space reality, factory; metropolitan consciousness — and performing the heroic function through the ritual archetypal theatre of baseball as in a steel Hercules… of the psychological architecture of cultural and civilizational modernity in American history.

And this is what is so fascinating about the clothes of baseball — how it is so thoroughly an ulterior aesthetic realm… because when we’re looking at the sophistication of a civilization, all civilizations implicitly and even explicitly in their values that they express are seeking to destroy themselves to create a greater, higher mode of being. This is a collective ritual sacrifice; this is very profound.

And this is why when I say… the human being is actively seeking to achieve escape velocity from itself. The human being is looking to break free from the human being, as in the locus of consciousness — which resides in a critical aperture within the human being — governed by metabolism, entropy, gravity, the field of the body as a genetic architecture in deep space and deep time… actively looking to achieve, through the grand psychological metabolic device of culture, a hyperspace in which true liberation of the principle of being can be achieved.

Because this is the fundamental underlying state and condition and essence of being itself, grounded as in a synaptic architecture and a linguistic genome and genetics within this specific form… which is seeking revelation as in liberation of that which it is itself.

18:37

And this is the purpose and true orientation of culture… and all culture from Picasso to the Boston Beaneaters of 1897. Baseball itself as a critical aperture grounded in the everyday historical material experience of the human being, a ritual theater — in which the human being can ascend and transcend — through this hyper material perceptive lens, which is the phenomenological grounding of the everyday… the human being, the birth and the death of the organism… and ritually reveal and achieve the total fullness of being by way of this entire devotion of the human being toward the aesthetic practice, which is the attempted; an attempt to achieve the revelation of being in time.

And this is why theater is so essential — and why Camus says his two great loves in life were the theater and football. He’s talking about European football.

These are two modes which are inseparable. They are the same thing.

19:53

They are cultural theater — which is a aesthetic distance of the human being from itself in which it can ritually realize the full powers of its native existence, which are normally and formally devoted to food, water, shelter, reproduction, and survival.

The devotion of that… by creating an ulterior aesthetic realm, which is a theatrical realm of caricature… to emerge the mythic potentialities and possibilities — all of which in the historical, ancient historical mythological sense, are the emergence of the gods, so to speak, from within the human being and as the human being, which are the localized energetic forces incarnate in the human being experience that are latent within the biological, chemical, hormonal and elemental drives of the human being.

To emerge those fully, which are the fundamental essential potential aesthetic qualities and forces — in the Greek understanding — which require this cultural realm or cultural theater as a sort of grand permission to emerge. As Simone Weil so potently states:

“The true hero, the true subject, the center of the Iliad is force. Force employed by man, force that enslaves man, force before which man’s flesh shrinks away. In this work, at all times, the human spirit is shown as modified by its relations with force, as swept away, blinded, by the very force it imagined it could handle, as deformed by the weight of the force it submits to. For those dreamers who considered that force, thanks to progress, would soon be a thing of the past, the Iliad could appear as an historical document; for others, whose powers of recognition are more acute and who perceive force, today as yesterday, at the very center of human history, the Iliad is the purest and the loveliest of mirrors.

To define force — it is that x that turns anybody who is subjected to it into a thing. Exercised to the limit, it turns man into a thing in the most literal sense: it makes a corpse out of him. Somebody was here, and the next minute there is nobody here at all; this is a spectacle the Iliad never wearies of showing us…” (The Iliad, or The Poem of Force).

And this is why culture itself is a aesthetic environment. The Iliad is a cultural document which turns back upon history with and through the mythopoetic to emerge the characterization of being itself proper. And this is the aesthetic realm of the Greek; the unity of Plato’s wrestling life with his philosophical wrestling of and with the Platonic ideal of life, through life itself.

As you can see with the Beaux Arts depiction of the 1897 Beaneaters team… it’s almost tapestry in the background… of the Gothic arches. This is a suspension. It’s a ritualized suspension of the everyday. It’s suspension of historical time in order to reveal.

21:32

So the human being itself in terms of the everyday, as described most succinctly by the poet Mayakovsky — is there is this profound creative existential urge… which I would really just describe as the human condition as elucidated in existentialism; most clearly by those who are the profoundly articulate… which is to say the philosophers… articulate of the human condition, the experience of being human.

Not a symbolic representation of the experience of being human as in the grounds upon which the human experience emerges or is undergirded as in the cosmic anatomy, but into the experience of being human. And da Vinci, historically, is most immediately this bridge between the philosopher of life and the anatomist of its architecture.

That… the experience of being human is always already seeking to transcend itself as in the realization and revelation of that which it is.

But the difficulty is — what is the method, which is to say the linguistic architecture, to assimilate and reproduce and experience that.

22:24

Which is to say — that which one is at the most latent foundational form of the drive itself.

Which is to say the most elemental will, the character of the will. To emerge the character.

22:38

And this is the genius of a philosophical and cultural architecture of play, which is being built architectonically, subterranean-ally… in this fomenting consciousness, which is the emergence of modern American civilization — which is in and as its emergence as the creation of its national pastime, which is to say its way of being, which is… in its most authentic self, a leisure practice.

It is creating in real time this architecture from the mud and wood beams of its own primordial subconscious, its own uterine infancy.

It’s creating this aesthetic ulterior mode, which we emerge and we see as baseball as the mass ritual cultural practice of today. This is being constructed… not by one mind’s mythic framework, as in an archetypal and alchemical descent of someone like Carl Jung in the Red Book.

This is being created as a collective, cultural, communal systemic ritual practice of agreed upon systems, laws, rules, regulations, and events — architectures of leagues, structures of championships, aesthetic representations in terms of high arts and high politics and high culture cabinet photographs, which ritually represent this emerging political subconsciousness as in a status of agreement, or a collective consciousness coming into being; cresting from the deep black and blue waves of the historical birth canal of American history proper as a mass movement of visionary self concept and self identity.

24:11

Becoming conscious… becoming part of the ritual architecture of American civilization and American history itself. This is what modernity is and means… specifically as it pertains to American civilization, which is becoming conscious of itself in terms of a real birth into… from a primordial pre-adolescence into an early adulthood, which is to say the emergence of a self-consciousness from this womb-like suspension in the terrain of attempting to discern what its identity is — practically, upon the theoretical constructs which undergird it, which is to say the Constitution and the essential missive or the drive forth into birth of the civilization… which is attempting to create the philosophical exoskeleton upon which the flesh of the being of American civilization can be purchased.

This is a profound and fundamental intersection — of the birth of modernity and the birth of American civilization as a conscious entity, which is intersecting directly at and with the subconscious mud and wood sculptural artifact and artifice of American baseball history as America is attempting to quantize and qualify its psychological architecture at a group collective level through the cultural artifact. The cultural artifact is itself a way of profound collective metabolism of the rite of psychological consciousness development of an entire localized epoch from uterine stage of ideation amidst the midnight and historical dark of ages and aeons past. It is the bone and skeleton of an emergent lineage… which requires a ritual mirror to scry its future; true ordinance through the practice of the building of character; feel around in the dark for a real intuitive, subconscious architecture of being that which it is. And this is the profound historical and cultural function of the poet, automatic literature, the shaman, the medicine man; in a profound sense, the deep psychological underpinnings of the intuitive emergence of the Western scientific architecture of quantum mechanics as a cultural consciousness field reproduction of ancient Indian mysticism and spiritual science.

26:05

And this is what’s so important… is that the artifice itself is attempting to metabolize this psychological tension — first of the emerging birth of civilization, and second of the emerging birth of modernity from the ashes of an agrarian local consciousness. This and these are simultaneous unfoldings in the American mythic consciousness and collective-individual identity.

And this is the high strangeness behind baseball, which is the capturing of these images which are radically dislocated from the human experience. They’re not human. They’re an aesthetic artifact of an alien consciousness which is emerging from the basement of the human archetype, which is genetic, biological, chemical, and elemental. It’s a confluence and a confluence of possibilities which is a hyperspace of consciousness… a consciousness that is radically relocalizing itself in an entirely new terrain of values and laws and reason from the human being architecture. And its emerging through this profound historical and material convergence of simultaneous epochs of emergent American consciousness of America as a subjectivity and a self in a grand civilizational sense; in and at a species level of the birth of quantum mechanical, hyper industrial technological modernity as a global phenomenon of awakening to the total architecture and supra-locality of Earth itself — a mirror unto and toward the total species entity formerly hyper-localized into cultural pockets of ritual belief and self organization in a realm of subjective perception of the body and the distance of space and time compressed into the organism container of the self.

And this is an absolute and utter explosion of the human being concept and identity self made visible and apparent in the aesthetic artifacts and image traces and symbols and signs it leaves behind in this journey to the stars as in a hyper-space of the quantum mechanical mind… the psychological mind as in a vision of the true, elemental substrate of the character of being; that which it is beyond and behind the locality network of the species clothes…

26:59

It’s devoting itself to something entirely new and different through this subcultural architectonic basement… of the grand attempt in a human and even cosmological sense… to achieve the hyperspace of consciousness and being itself.

The ritual revelation of being out from under the historical sediment of the genetic and cosmological phenomenological planetary interstellar reality. From these local systems, which have profound histories and thus have profound densities.

This is a radical liberation project — and it’s an escape project of the abolition of the human to achieve that which is the truly human out from under and beneath the human. And what’s required is this disguise or this costume, this way of creating the ulterior mode, which is to say stepping outside of the ritual every day. And this is the function of war in a profound sense if you understand this… but this is why war always fails.

28:17

Because war is still always already about survival and material, the human body and the human organism and the drives which underlie the human organism. It’s just an intensification of those drives.

But what baseball is, is… a radical delocation from those drives to reveal the energetic principles as in the character and fundamental essence and nature of the will out from beneath them, which is pre-phenomenological, pre-cosmological — into the quantum architecture of the character of being itself, which is the child at play with colored balls.

This is a, it’s not a return in so much as it is a realization of the fundamental principles of that which is prelapsarian in a human being sense, because you can think of this in an individual architectural sense in terms of the psychology and psychological development of the human being.

The human being is first allied only to play.

28:47

A play which is almost entirely divorced of body consciousness. Because the consciousness itself is not localized or grounded within any firm architecture. The experience of being human is outside of the body.

29:04

It’s not that the body is being delocated or dislocated, but that the experience of being human is ritualized in a world of play, is entirely exploration of the architecture of being itself. And this is a cosmic totality. There is no separative architecture in place in a psychological sense. It is this profound and full immersion in play itself as an active creative principle, which unbounded… Prometheus and the Promethean unbounded.

And this is the fundamental cosmological principle at work, which is being… actually, in many ways — terraformed by a false human culture, which is a fear of death — into a political subject.

Which has beliefs, which has orientations… which has become stultified and has become itself sediment of history in terms of the ritual dulling of sensation and the performance of the practice of a profound inferiority, which is the stepping down out of and from consciousness itself as a primary direct immediate experience of being into this ritualized political human subject space of history, which is inoculated in… inocou-ated with a fear of death or a political nationhood… and all of these identity constructs which themselves have absolutely nothing to do with play other than the forgetting of the play and the absorption in this subjective quality of the construction of the actor in response to and reaction to historical material circumstances of the world.

This is a box of self formation and identity formation as in a political response and a reactive subjectivity which actually, paradoxically and perhaps ironically and tragically is itself death as in the death of creativity and play as in the cosmological, metaphysical, true fundamental principle and active origin of life itself in whole and sum.

30:43

So this is this is an attempt to achieve that ritual hyperspace directly back into and towards play.

Not just as a return to childhood, right? This is not a return to the ocean in the sense of a primordial lapsing of the human being back into the fish, so to speak. This is a hyperspace drive forward of consciousness… devoting this adult or mature state of being — which is the... psychologically and physically maturing organism — the devotion of these sophisticated drives toward the aesthetic ritual quality, is the theater.

The theater itself, which is the bridge, as Nietzsche would say, between man and God.

Which is to say quite simply the sedimentary biochemical genetic organism of the human being as a historical artifact leaping forward in terms of a hyperspace, in terms of a faith, even, as Kierkegaard would put it — into the essential.

31:58

And this is all happening right at this hinge, this hinge at the turn of the 1800s into the 1900s. And there are many factors that are at play here.

Industrialization, hyper-technologization.

And this is something that is exponentially growing over the span of the hundred years that would come after this period, after this hinge period of the Beaux Arts, after this hinge period of Oscar Wilde and Charles Baudelaire. You have Walter Benjamin as the 1900s began to mature looking back at Baudelaire. Looking back at metropolitan France and inquiring what is happening here.

Because… it’s a hyperspace that is occurring — that baseball is capturing through the solidification of baseball as a conscious cultural artifact; a ritual hyperspace technology of the collective psychological consciousness of the doubly revelating early modern America as itself a psychological construct one part birth of empire; two parts emerging world power of modernity… moving from the subconscious realm, which is the realm of mud and sticks, to assemble this Frankenstein as in a representation of the human being, the essential consciousness, cultural drive of the human being, a representation; a mirror, a reflection of that life force instinct…

33:26

That is itself the emergence, and the theater, the vision of the psychological change in consciousness that is occurring at a species level, but also at a semi-local level in terms of American civilization — of the convergence of this technological, tectonic architecture that is coming into being, which is the utilization of precious metals to create computational devices, which are flickering millisecond based pixel changes, which are emerging objects and images of perceived profound value as they relate to the interfacing between the visionary object and the human being who is envisioning.

And this is all... a movement profoundly away from the animal into the essential architecture of consciousness itself and being itself.

And this is a death.

34:34

This is the experience of the death of the organism in real time as a consciousness artifact, a cultural consciousness artifact of history… of being in time hyper-accelerating through technology, which is radically dislocating the organism from itself.

And this is what we observe in so much of the political and existential conflict of the modern day in the year 2025. It’s a death of the human and a birth of something ulterior through hyperspace technology which is ritually — by the hand of mankind — breaking the ordinate architecture of mankind through consciousness revolution which is radically and systematically and systemically overtaking the glacial evolution of the biological form of the human organism itself. It is an overloading of the nervous system which is handling the information charge — a charge which is exceeding the biological architecture of the sensate, chemical organism and being… overloading the limits of the synaptic architecture of perception of the organism itself with extensions of powers which are the wires and digital powers born from the fuse boxes and factories of the turn of the 20th century… into the hyper-modernity of the present day and age.

35:02

Because… we’re witnessing the hyperdrive of technology — which is emerging a radical new consciousness, which is incompatible in many, not all ways with the now historically outmoded version of the ritual consciousness of the human being. This is a literal embodied experience of profound existential suffering and struggle and loss of ritual gravity. It is absolutely… a species level and an Earth as in ecological systems level crisis of consciousness.

The human being cannot evolve fast enough — because the human being is a glacial evolution, which is a natural process. But the ritual hyperspace of technology is advancing in a way that is outside of the bounds of the human being. Because this is a… it’s a ritual architecture which is not dependent on nature. Nor is it requisite for this technological and prosthetic architecture to adhere and abide the incarnate, fleshly rules and bounds of the ambling limits of mankind.

36:02

You’re watching this spiral. The movement of modernity is out of control.

And you can understand this first and foremost as and in the schizophrenic split between the loss of the subject as in the loss of the body as an organizing mode of consciousness… into the grand cosmic and cosmological neural network of the information and information technology systems which emerge from the collapsing of space time.

Plane, car, light bulb, quantum computing.

36:45

Personal digital devices, artificial intelligence. This is a radical condensation of space time into profound forms of singularity of consciousness, which are ritualizing the emergence of the aesthetic object of modernity, which is the essence of consciousness out from historical materialism and out from historical material history… which is a collapsing and a folding in of history and material… as in material reality, which is the construct and undergirding of the human experience. It’s the Newtonian. In many ways, it is also the human…

Into the revelation of the aesthetic device of all of history and all of time, which is itself an apocalypse. And as in apocalypse; ritualized religiously and textually… an end of humanity as an epoch; a way of being, seeing… into pure being. The question is, perhaps… what will that look like; what will we become?

37:28

So that’s what I got. I’ll catch you on the next one.

Strange Faces: Human Compression in the Photographic Mode as a Way of Being

Oct 25, 2025

[]

[]

[]

00:01

So I want to get at something I’ve been dancing around with my entire baseball archive. And this is where, for me, the baseball intersects with philosophy, science, psychology, world history, world literature. Because, I’ll evoke the Milton quote again — where he talks about the fiftessence or the soul… being imbued or embodied in a text or a book.

And he’s describing that the nature or the character or the essence, the spirit of the being, which is being incarnated into this ulterior form. It’s being projected outward into an object or an object phenomenon, which then itself has the character of the being written into it, literally in terms of the text.

So when we think of the book, we’re also thinking of the gene and the genome. We’re thinking of the script of the human being…. being written linguistically into existence from the character of being itself in a grand cosmological metaphysical sense.

01:10

So the title for this one would be Strange Faces, Human Compression in the Photographic Mode as a Way of Being. And the photograph I’m gonna use here — to keep with my love and fascination and enjoyment with baseball, baseball culture and baseball history — is a 1888 Orotone photo of Jocko Flynn by Goodwin and Co., which was eventually used in the Old Judge baseball cards.

So… this is a complex thing, this is a complex phenomenon — because… I’ll break down that title. Human compression in the photographic mode as a way of being — you’re looking at the photograph as a literary device or an inscriptive device of the nature of the essence of the human being, which bottles that essence or attempts to bottle that essence — specifically early studio portraiture, which in baseball terms in baseball history is most remarkably known by Carl Horner, whose photos ended up being interpreted by various different significant baseball card series, including the T206s, the portraits.

But also, the early Victorian mode of the photograph in terms of families or individuals sitting for the pose of portraiture. And this includes early baseball players and the Old Judge studio photography; studio photography of baseball players in various different positions and characterizations being used.

02:54

And what’s fascinating to me and what drew me to this specific photograph to use this as the visual example is the character of the face on Jocko Flynn and the position that’s being taken — which really, makes him appear to be a pitcher. The cap is tilted down over his eyes and there’s this... almost like trepidatious expression of an animal looking back at something that doesn’t really see him.

And this is crucial and critical to me about what technology is and represents at the onset of modernity and the onset of industrialization. Because we’re looking at, for the first time, a true mirror. And through that true mirror, in a purely representational sense… again, we’re just talking phenomenologically — a mirror, right? A mirror that flattens dimensional perspective. A mirror that draws out image from total reality.

03:50

It draws out image from essence. If you understand this, this is a way of thinking, and this is a way of being — because it’s a representational mode that is flattening interdimensional reality, quantum mechanical reality, and even Newtonian reality. If you were going to drill it down dimensionally into four dimensions and three dimensions and then two, we’re talking about a total essential discourse, which is ongoing as in nature and natural symbolism through translation…

That is being — through technology, both natural and manmade as in reflective natural — phenomenologized down into essential dimensions. You can think of this in terms of the letter as a symbolic device. This is the history of images as symbolic devices. They function as mirrors that compress information down interdimensionally.

04:45

So this is what I mean by human compression… is really we’re looking at the emergence of the photographic mode as really the call sign of industrialization. This is the media generative philosophical device. It’s the true function of industrialization, which is to condense, distill, essentialize, draw down, make into symbol, as in a symbolic register.

And again, you could think of the invention of alphabets as one of the first methods of industrialization, as well as cave paintings.

So I’m going to draw this all the way back… to the idea of industrialization as condensing essential information with speed, efficiency, and register into code, into a codex, or codifying reality into a symbolic scripture of being, which is meant to be representative. Progressively representative of the character of being itself as a replication of the primordial will and as such a scalar representation and translation.

05:39

And I did some pretty significant research on this in terms of the concept of iconomachy in my academic time… which is the overthrowing of image registers, which themselves are the codes and codexes of civilizations.

The idea of defacing an icon or defacing an idol is to deface that which the civilization worships. And worship is simply a linguistic device of projecting and portraying value and space time. This is all a reflection of consciousness.

06:08

It’s a reflection of the status of consciousness and the human encounter with the photograph, with the photographer, the studio photograph, particularly — with the massive mechanical industrial photographic devices with very, very, very long frame capture times — are themselves an encounter, man’s first encounter with a machine that is seeing him.

So this is basically an encounter with an alien, if you understand this — because the alien is interpreting the human register and compressing down the dimensional interface of the human being into two dimensions. Man itself is a genetic compression device of the will of nature; from man’s will emerges the technological ethos of the machine producing image which in turn makes man a dimensional compression and further symbolic representation upon the cave wall script of the chemical photographic paper.

It’s compressing it down into a flattened image. It’s flattening the space of the human being and thus flattening the character into a single portrayal of that moment in a contrast… of the chemical rendering of the script of the light upon the photographic paper.

07:15

And so in many ways, when we’re discussing this process, we are discussing the instantiation of the death of the human being as an interdimensional synthesis and unbroken unity of primordial nature and eternal before time. This is the register of technological modernity as a spiritual problem and a spiritual question; one of profound existential consequence. Because the aperture of the matter and the manner in which the matter presents itself has profoundly changed and shifted.

And this is a deeper death than Marx talks about in his critiques of industrialization and factory and machine. Because when he’s talking about factory and machine, he’s talking about the union of man and machine. He’s talking about man becoming machine in many ways.

Here we are talking about man becoming alienated symbolically by the method of the photograph, the advent of the photograph. As in man becoming symbol; life itself becoming both and at once perfect representation and captured in historical time and removed from it. And thus too is man and man’s consciousness and mind. It is refracted light upon the water of being and time.

And this directly mirrors the profoundly existential hyper acceleration of that condition today, which is to say 150, a little over 150 years later — with the onset and onslaught of artificial intelligence… because we’re talking about a technology created by man which turns man into a symbol. Which distills man into an image device; which distills man’s entire character, which is to say his essential character in space and time which is necessarily transcendental of space and time as a spiritual condition. It’s a quantum mechanical condition as in a consciousness condition as in a creational device and force not separate from the organizing powers of the universal — which is to say the creation of the cosmos.

That man himself is a scalar or a fractal representation of the cosmos and a distillation of the powers of the cosmos. Unbroken from it as an immediate order ordering and reorganizing without the mind of thought as in a break in time.

It is a rending and rendering of man from the embodiment. That literal embodiment is an unbroken present… into a form of symbolic representation and thus creating a symbolic chain.

09:25

And so this is what man naturally seeks to do in interpreting.

Because this is the realm of logic and concept. This is the realm itself which is made possible by the biological evolution of the forebrain device and devices, which are interpretive, reflective, rationalizing, cognizing, thinking back upon time, thinking back upon experience and ordering it.

And so this in itself, that biological revolution is the first break, which again is a technological break of man from time into reflective space. The capacity to reflect.

And so then from there you have the entire history of philosophy, world philosophy, insofar as it can be remembered historically, as well as world literature, as well as world art, because of what we’ve created and what has been created through us, right? Again, this is a simultaneous creational process, which is entirely universal. There is no boundary really there. What we’ve created and what we’ve created through us is the symbolic dimension. It is the ulterior dimension. It is the forebrain and Hamlet, in an unbroken technological and teleological unity of the universal mind.

10:42

And it’s… in the consequence… the schizophrenic break between the dream worlds and the world of the real, which is to say the embodied incarnate world is entirely in flesh. There is a... trouble there, right? An existential trouble with the boundary between the symbolic dimension and the entirely real incarnate embodied present immediacy of life and being in time, which is necessarily fluid, infinite, and itself almost an effortless natural process in which the organism is entirely subsumed. Swallowed by the vines of primordial nature in an endless overturning unbroken by reflection. Again, Job.

Created, remade, subsumed, created, remade. Who is there to reflect upon God; the mechanism, the component parts, the will, the logic, the forces and particulates and particulars at hand? And again, this is an interstellar phenomenon that’s replicated across scales.

This is the basic physics and existential physics of stars.

11:58

So we’re talking about… and this is where it gets interesting, right? And so this is why all of my work is on industrialization and early modernization. Because this is where it gets interesting — when the technologies themselves become these alien robotic devices that are reflecting and refracting this previously unbroken agrarian, prelapsarian natural consciousness as an entirely threaded framework of being which resides from star to animal to plant to human to solar system.

These technologies that emerge by and through the hand of the human, which are the Frankensteinian, and they are the Frankensteinian in the sense that they are created as a metal. They’re from the elements of the natural form, they’re pieced back together like Osiris and Dionysus. They’re resurrected from the primordial ground of the earth.

We’re talking here about precious metals. We’re talking about lithium. We’re talking about man’s metal age or chromatic age — industrial age consciousness, which is taking these elemental figures… these forces within nature that are swirling in this kind of fulmigating recombinating alchemical beaker of the earth and of the cosmological systems, all of which are composed of these elements… these chemicals, these molecular compounds that are being, that are interacting in space time.

13:27

But man is reaching his hand into this natural unconscious process of gravitational pulls and chemical interactions and heat systems, this process which is being synthesized without prime interlocutor as in reflector, so to speak.

And what I mean by interlocutor is quite literally man reaching his hand into the cosmos and transfiguring actively to produce substances. This is a profound intervention at the level of cosmic culture; cosmological culture. This is itself the nature of culture as reflective theatre.

This, this is beyond sexual reproduction or the consumption of food or the finding of water. If you understand… this becomes radically outside. This is a way of creating an ulterior reality.

14:02

In that we understand the creation of the personal computational device or the computer chip or the cell phone or the camera or the photograph. This is a radical chemical elemental compound interaction, which is being actively created and configured from source ground elements and natural distillations of principles and forces at hand by man to produce ulterior realities.

And what’s so fascinating about the three devices that I just named there… when we’re talking about these forms of technology is that they are image creating, image manufacturing, image transforming devices that rely on the codification of light through chemical and elemental interactions within a technological, I’ll say chromatic — and when I say chromatic, I mean metal. It’s a metallurgy.

14:57

The same way that the alchemists, the medieval alchemists and the ancient alchemists spoke of the metallurgy, which is turning lead into gold.

15:06

This is a deeply spiritual consciousness based process of image work, which is consciousness alteration and transformation through the distillation of essential natural presence, which is to say the totality of the cosmos, the unbroken human being psyche within the grand cosmological whole in an intergalactic sense. This is an unbroken synthetic process. It’s a holistic process.

But the break in the schism and this schizophrenia from nature occurs in the development and advent of the forebrain and then is hyper accelerated in industrial modernity.

Hyper accelerated through the creation of these, say specifically image based technologies which radically reconform and reconfigure man’s image of himself as in a reflection upon that what and which he is. The dream, the photograph, the Lascaux painting… this is all a reflection upon being where the psychic split between man and nature is emerged and elucidated as a process of understanding of nature in a characterological sense; a progressive union of man with his essential character. And his is as much deeply Jungian and Freudian as in image work and mythic work with the deep mind as it is cosmological and astrophysical — as it is a profound historical process of information compression, condensation, and translation. The symbological process of the cosmos is unbroken — down even into the psyche of man and the ‘monsters’ he produces of a machinic nature from and by his own hand that transfigure his image of reality, consciousness, and himself.

16:09

And this is a... a form of technological terror — in that it is a sublime revelation of the possibility of capturing life, which is not life. And again, I’m alluding to… this is so deeply ensconced in the concept and idea of Frankenstein as articulated by Mary Shelley.

Because we’re talking about a radical evolution that is occurring within a natural biological species context — where the species is actively reorganizing the chemical synthesis, the molecular and elemental synthesis of nature.

And this goes deeper into atomic fission, splitting the atom or creating the atom bomb, right? Where the atom bomb and the photograph themselves as technological devices and innovations are deeply intertwined.

Because again, we’re talking about taking the essential elements of nature and refixing them in man’s image of the possible creation. It is a tinkering with the deep ontology of nature to manufacture explosive new linguistic combinations with practical functions which interface with the glacial process of the natural evolution and outcropping of the unconscious mind into space and space time.

17:36

And you can see Mary Shelley’s primary argument is the danger and destruction and warning that Frankenstein takes upon himself by making this technological device of the monster or the creature.

And what she’s really describing here is the hubris of man in relation to understanding the forces of nature through physics or through science and recombinating them through this kind of creational experimentational force, which we can just call technology.

There’s a deep danger in depicting the buffalo in the Lascaux caves.

17:52

There’s a deep danger in the lithium mines which create the cell phone devices.

Because we’ve broken away from primordial time, which is the entire interlocution of the species with the cosmos. The species is being actively formed by the cosmic mind, which has formed its technological miniature of free creation and free creativity within and inside it. The time breaking device of the forebrain — which then ritually analyzes reality and the conditions of existence; reaches inside them to tinker with the constructed and constructive mechanism of the will behind space-time itself. It is ritually re-organizing, with increasing self consciousness — its own order. And this is what is so radically apparent in this photo and early photography in general. It is a recognition of the alien hyperspace of the quantum mechanical mind emergent through the photomechanical device of compression, capture, distillation; time-space warping of the human experience into radical disjunction and disjuncture. And this is the strange face of modernity at root and core.

18:20

And you could say whatever you wanted to in terms of a value judgment about that, but I’ll just elucidate…

This is all a product of the hyper acceleration that is created in the advent of the forebrain as a natural biological evolutionary process.

So you have to ask yourself this… in terms of the stepping up of stages evolutionarily from the unconscious mind of the cosmos, which is actively recombining sources and forces within this great beaker of the universal whole. And it creates, not only creates man through this system of applied forces… but then furthermore creates the forebrain of man through this progressive system of applied forces, which allows for the interpretive reflective thought, which breaks time as in a fluid, unbroken, primordial unity of the animal with God, so to speak, or the animal with the universal.

19:18

And so when you have John Milton writing Paradise Lost, when he writes Paradise Lost in the moment in human history at which he does… you’re looking at this understanding that’s emerging and it’s emerging progressively through industrialization and the industrializing world, the mechanizing world — that man has left that Garden of Eden, which is the unbroken consciousness and that kind of ensouled unity with nature, which we think of as particular to the animal state of consciousness. An earlier form of idyllic order which was blissful unity of man not separate from the ensouled cosmos. Not cast out or outcast. This is a quality of the mind; a quality of the perceptive and perception of mind.

That man has broken from that in this evolution of the forebrain… and reaching his hand into the technological code of nature and rearranging its alphabet to form a new language and a new word, which is the camera or the robot or artificial intelligence, right? Or the cell phone.

These are all devices when broken down to their constituent parts are radical reconfigurations of nature. And this is what I mean by technology as a hyper acceleration of the symbolic distillation of the code and codex of nature to clarified forms of condensation of ritual space and ritual time into singularity devices. Mind within mind revelated purely; thus collapsed the forum as in the space between the two nodes and modes seeking this essential primordial reunity. And the symbolic dimension itself is always already the breach between them — it is the birth before the ritual death of the conscious mind into the recognition of that which it is… which is necessarily a new natural synthesis in the grand tome of the historical book of the cosmic mind itself, insofar as mankind currently understands it.

20:15

And then, when you bring the camera as a reflection upon the conditions of nature into existence… this is a hyperspace leap.

It’s an exponential leap from the court painting of centuries and generations past… because what this means is that there is no longer the luxury of the human eye to interpret reality.

The human eye may direct the impulse of the camera, but the lens of the camera itself is capturing an imagistic representation of the interdimensional, interspacial reality of the human being — rendering it a glyph, rendering it a symbol, condensing down the expressive power and character and force of the will as incarnate in any aperture or frame. That the camera, the eye of the camera is turned towards and must mirror it back to degrees of faithfulness, of course, right? Because the camera itself is an artisanry and an artistry in terms of not only how the photograph is captured, but how it’s developed chemically upon the page.

It must render that which is. And by rendering that which is, it rends it down, much in the way that fat is rendered. The camera has a technological mind of its own, born from the mind of mankind. A perfected and perfecting interpretive form of symbolic distillation of dimensional consciousness into glyph. A translation.

And this is no ordinary child…

21:12

The human being is being broken apart in this evolutionary process… which is simultaneously, as we’re describing here, biological and mechanical in a profoundly unbroken way.

Because the advent of the forebrain and the advent of the camera are themselves mutually reflective devices upon the condition of nature. And that reflection creates a refraction. It’s a disassembly of light into a symbolic order of being which necessary must retain as much of the lossless essence into the lossy files which step down light into scalar form.

22:05

And so in this photograph here with this expressive condition… as well as the shielded cap and the turned shoulders and the compressed arms and the turned away body — we’re looking at man reluctantly facing and moving toward the object of his creation, which is inhuman. It is no longer human. It is a hyperacceleration of the human through the birth of the rational and scientific human capacity in a technological instrument which extends the human domain and limitation of fleshly, sensate quality into a hyperspace of perception and articulation. A hyper-reality, through which man is necessarily rendered truly; broken by the psychic interpretive framework of his prior dimension of mind which was necessarily previously ordered by his supremely occurring powers of perception, organization, and depth of sight into what was, for most if not all of mankind — a profoundly opaque and immediately bound depth of existence and interrogation into the depths of true reality — even in and at the surfeit level of the representative, phenomenological depiction of truth as in the surface image caught in and by a camera’s lens.

It’s a alphabet which is being translated through a morphic alien code. It’s a form of consciousness which itself… has a mind of its own, in the sense that it’s been delocated and dislocated from the human consciousness, which has assembled it from the ground of nature.

This is precisely why the camera is perhaps the earliest inheritor in a technological modernity sense to artificial intelligence.

22:57

Because we’re looking at this first encounter… and when we look at these early images — here it’s 1888 copyright, Goodwin and Co.

We’re looking at man’s encounter with the alien.

23:13

And so this is what’s meant by alien, right? If we just distill the common parlance of the term, it’s extraterrestrial, just beyond the terra or outside of the terra. And the terra is the realm of the human experience. We’re talking about the fleshly or the earthly, the grounded within the incarnate impulses and expulses of the human experience.

And so this is both technology and science. It reaches out into the world to understand it and its constituent parts and components and how it’s formed and it’s assembled… and at its highest, as in Heraclitus, to understand its essential character.

What technology is is a direct consequence of scientific revolution and evolution. And scientific revolution and evolution is a direct consequence of the advent of the forebrain. So everything that we see emergent from scientific and technological revolution is first a priori emergent from the biological revolution and evolution of the brain.

This is the strange, strange face and the strange force of consciousness which is acting through man, creating through man an ulterior reality, a reality which is superhuman, extra-natural, broken from this, again, the prelapsarian Garden of Eden state of primordial consciousness…

25:04

Which hitherto, man understands the history of Earth and the cosmos insofar as he can see… in the year 2025, to create this strange fiction, which is a schizophrenic break.

First in the creation of the forebrain, which is a reflection upon life, world, the reality, the self — which is also the development of the creation of the self concept, which is the morphic way in which the human being perceptive and perceptual device attempts to situate itself within the cosmos.

And so nature, to this point, would be self-situated. It is self-situated entirely within the drives it constructs within the biological organism. It is entirely contained within nature. This is the idea of an ensouled cosmos. And the reason that this idea, which is an ancient concept, no longer resonates with modernity, is that we have moved… in terms of our understanding of what has occurred — even in the concept and process and procession of thought and the human mind, from this unbroken, you could almost call it a primordial matriarchal consciousness, the ensouled nature, the ensouled earth, the unbroken time of the present — into the fracture, which is Paradise Lost, as articulated by John Milton, in a consciousness-based sense.

Which is Adam and Eve being cast out of the Garden of Eden by eating the fruit from the Tree of Knowledge.

26:42

Which is to say the perceptual beaker and beacon being burst open through the experience of reflective mind.

26:56

And in that process, it’s a sort of Pandora’s box that there has been a recursive linguistic knowledge that it has emerged naturally from the unconscious and subconscious substratum of recombinative evolutionary technological nature, which itself is always already occurring as a systems process at the level of the cosmos, that this has emerged and as such now is tinkering with the device.

And this is everything from genetic code alteration to cloning to the splitting of the atom, right, to the creation of the computer and the cell phone. These are all the same thing and they’re all emergent from the same thing, the same principle.

00:01

So when you have this compression that occurs and is occurring, it’s occurring first through the evolutionary biological advent of the forebrain and then down through the progressive revelation of what exactly these powers of reflective, refractive, analytical consciousness are in terms of the breaking of time.

This is first and foremost an innovation and a revelation of the breaking of the infinite as a primordial experience of the animal into a fractured experience of time as a reflective disjuncture in the mind of mankind. And so this is being progressively replicated through history as a technological revelation, which is itself philosophy and science… which is then being incorporated into the consciousness, the species level consciousness of mankind as in technology.

And then when you have this outcropping and outburst of early modern industrial revelation, particularly in the photograph, you have man’s confrontation with the creation, which has emerged naturally, as in from nature — the capacity, much again in the way of Frankenstein, to incorporate and reincorporate fragmented parts which have emerged from this shattering of the mind.

This is the shattering of the mind into perspectival dimensions which are in dialogue with one another… which time has now become this memory of eternity which is now experienced as man’s reflective capacity upon nature. And it is increasingly fractured in man’s tornness as in being away from nature and into the hyper-progressively symbolic mode which distills man’s experience into increasingly technologically glyphed; compressed, totemic forms. To move from the creation of symbolism as in the cave painting or the Rembrandt; the written word or the novels of Dickens into the camera and artificial intelligence — is the removal of the process of the perspectival dimension of man, as in man’s essential quality of experience and interpretive frameworks of being — from supremacy of articulation as in articulation of truth; reality… even in his own life and time. And this is precisely why and how modernity produces Modernism as a cultural, philosophical, and literary reaction to the colonization of the human experience with revolutionary forms of technology which draw out day from night with the lightbulb, compress space and time with the car; revolutionize historical image capture and phenomenology with the camera; split the atom and implode nature with exponential force with the atom bomb. It is the human being receding back into the last refuge… inner, personal experience — the last realm uncolonized by the emergent technological mind.

01:46

This is the separation of nature which Marx describes as alienation in his industrial texts.

But this is something that has occurred long before Marx and long before industrialization. And the industrial modern consciousness is a embodied revelation as in practice — incorporation of the scientific method, which is born from this schizophrenic break, which occurs in the evolutionary biology of the species itself into the forebrain.

It’s born from this break in time, which is in the nature of mankind as an evolutionary species… into… bottled into the scientific revelations, which eventually emerge into man reaching into nature — pulling out and extracting lithium and making the computer. Just as paper from the wood of the tree.

02:39

This is a progressive, it’s a chain of events. It has to be seen at this grand timescale level, otherwise it will be misunderstood, misinterpreted.

And this moment of revelation that occurs at the turn of the 1900s in the 20th century is the turn of man turning about to face the consequences of this grand primordial action of hundreds of thousands of years. It’s an exponential boom — wherein the technological mind becomes the natural mind; man is split, crucified like the Virtruvian man… between his natural instincts and the glacial evolution of the fleshly body; the virtual reality and artificial intelligence of the exponentially advancing technological mind, using metallic chips from the deep earth to hyper-accelerate, compress, condense, twist, contort, and make singular the space time glacial man calls his ritualistic, rhythmic, primal home.

03:40

The grand primordial action of the advent of the forebrain… and the forebrain progressively revelating its powers. This is the first break.

It’s the first Paradise Lost. It’s the first true leaving of the Garden of Eden. And it’s occurring as and in the mind, as and in the technology of the brain. And this is… it’s a consciousness technology. It’s a synaptic technology. It’s a wiring technology of the system of mankind to perceive in certain capacities, to orient itself in certain ways toward the cosmological whole.

03:50

And so this is what’s so fascinating to me about this image… is that animal trepidation. It’s that animal fear, the sublime encouragement of the realization of man’s technology, which is the forebrain technology… in the Frankensteinian monster of the camera, which is now no longer in the hands of Victor Frankenstein, but instead now roams free and reveals what it will reveal. It is the technological compression of space-time into a sigil; the deatomization of man’s biotechnological cosmos; the roaming free of a monster far more powerful than the slow sexual recombination of man; the hands that roll the boulder of humanity up the inclining hill of incarnate evolutionary time…

In its compression and condensation of nature, which is necessarily a progressive revelation. It is the emergence of a new paradigm of symbolic order which makes man glyph in the condensation of a further dimensional trip and slip downward into simplification as in singularitization.

04:48

It’s a progressive revelation… as in a distillation of energy, a distillation of information, a quantification of time. This efficiency is native, toward the pull of the grand object of time which is primordial unity in time.

And what I mean by quantification here is that this is a chemical outcropping to represent time… and as such it is condensing and compressing it through recombination which makes increasingly possible with less force and less time drag.

Just as it’s condensing and compressing time, it’s condensing and compressing man.

04:58

And so you see this aesthetically in modernity and the radical changes and shifts that human being wears the clothes of its existence in every way. Perceives, acts. Drives vehicles, visits shops, splits atoms, flies rocket ships.

This is culture itself as a whole and entirely — the clothes that the human being wears in existence.

05:18

It is a… now you have this cultural term, cyberpunk… is a great term here. It’s being thrust and shifted into an ulterior world and human being and humanity itself making the leap. And this itself becomes the culture of mankind. And you can see this in many ways… mankind is losing that which made it human in an agrarian sense; repurposing in real time the biological powers which motor and motive it in a chemical sense toward new outcomes and motives — towards new quantum efficiencies wearing the face and mask of light shifting image shapeshifting devices. This is symbolic of the rapid shift of a former glacial cosmos; a glacial star, terraforming toward a ritual hyperspace drive… incarnate in a computer chip ingested by a monkey… by an ape.

Making the cosmic leap out of nature… into the technology of that which it has created, which has rendered nature a technological code. A system of elemental and chemical factors which can be actively combined to produce certain outcomes; bend, compress, condense, warp, glyph... space time and the human consciousness — which is itself the experimental practical scientific method of understanding the component parts in the exploded engine of the mechanism of the grand cosmos.

06:05

And this is a force… this is a force of hundreds of thousands and millions of years, an instinct native to mankind and in the character of the will of the play of the cosmos as in Heraclitus — which is moving through the human being and moving through the human experience, which reaches the pinnacle of the revelation of its powers at this early onset of modernity and blasts off into hyperspace of techne… particularly through the advent of the photographic camera — because none such device in early modernity reflects upon man in such a metaphysical, metaphorical, imagistic way as the camera, as the photographic instrument.

06:44

Man is no longer in charge of the interpretive framework of his life. It is being rendered before him.

06:52

In the technological eye.

06:57

And you see it in the face of the subject of this photo. It’s the sense of being overpowered, overdrawn by a force of nature, which is supernatural.

07:13

Overdrawn by the hand of that which man has created… and the primordial terror which is visualized as trepidation of this thing which itself is an apex predator dimensionally — and what i mean by apex predator dimensionally is again… it’s a distillation of the full spectrum the interdimensional truth and nature of existence into a symbolic realm, into a symbolic coded mechanism. It’s a paradigm shift of the linguistic power of representation which is an articulation which shatters and shutters the human mind’s entire evolutionary cosmos as a phenomenological as in being in time; history in time representation of the march of thousands of years unto the break of the forebrain — into this moment where this biological revolution ritually appears as a technological, cultural artifact and fascination in the human everyday. A device of perception which mirrors the alien strangeness of man’s brain evolution — that which led him indelibly to modernity.

08:39

So that’s what I got here. I’ll catch you on the next one.

Thrown into Chaos: Metamodernity, 1900 & the Synaptic Codebreaking of the Symbolic Chain of Nature

Oct 27, 2025

[]

[]

00:01

So we’re in new terrain here. I want to talk about capitalism, post-war consciousness, even Cold War consciousness.

And I think the term Cold War is very crucial from a deep space and deep time perspective, because what we’re looking at is the change of the terrain of the way that consciousness functions, presents itself, and co-occurs with and within modernity as a historical phenomenon.

00:29

And by modernity, I mean the bridge between 1900 and 1999 into the 2000s with the personal computational device, the internet, social media, artificial intelligence.

So what we’re really mapping, we’re mapping a technological revolution, a hyper extended epochal technological revolution, which is accelerating en masse… going so far back as the photograph and the light bulb.

And the reason why I call those two inventions into play here is that they are technologies of perception. And so really what we’re dealing with when we’re dealing with the human species is a revelation and revolution of perception — and this is the historical overturning which we which we would call historically revolutions politically as in attempts to liberate societies from certain dogmatic and class-based and racially stratified conditions, which is to say hierarchies of information.

When I say empire and empirical, they really mean the same thing. Just as much as when I say culture, mean bacterial and the image-based semiotics of the human being. This is a multivalent perspective.

01:55

And what we’re tapping into… the real linguistic substratum of existence as elucidated by Wittgenstein as a part of this epoch, right? There’s a great book title for the philosophy of Wittgenstein and the life and time… it’s philosophy in the age of the airplane.

And I think it’s so fitting and it’s just been circulating in my mind — because we’re looking at the relationship between technique as in technological prosthetic which is ultimately linguistic.

We’re looking at that in relationship to language itself, which is the way that being or consciousness is communicating itself, whether that’s genetically or through radiation or through culture. And then we are also looking at the radicalizing relationship between the two of those factors.

02:48

Which is to say how the genetic information of the human being influences its linguistic interface with reality or existence, which is to say its synaptic and neurological architecture. But then also… is a two-way street of information transmission — how that cultural unfolding in a biological perspective reflects itself back upon the gradient of nature itself and thus is in a process of perennial revolution through revelation. You understand this… this is through light, this is through cultural artifact, and this is through the exponential estrangement — as in the high strangeness as the sublime quality of the revelation of the Frankensteinian nature of the human being, as we elucidated in the last essay here and then the last oration.

03:43

How this progresses through modernity as what I will call the real underpinning, real underpinning and underlying essence of capitalism, which is to say estrangement.

04:10

It is the fracturing and fragmentation of an organic, which is to say a human or a natural — or a biotic as in a biome. Into relationship with nature… rapidly and exponentially into multifactorial technological prosthetics, which are explosions of the symbolic chain of information in space and time.

04:41

This is a revolution in which far surpasses the formerly possible within glacial natural evolution of biology. And the relatively predictable historical cycles of tribal warfare… private cosmologies and localized and regionalized forms of consciousness, which extend as far as the eye can see or the horse can travel or the wooden ship can travel.

So this is all, again, it goes back to compression of space time. Condensation and compression and distillation of space time bridging the formerly linear structured Newtonian grounded paradigm of physical information, which is native to the human condition as in its genetic limitations as a physical body in space and in time.

This is being bridged by everything from the airplane to the computer.

05:40

And so when and as this happens, you have the high strangeness of the consciousness within the human body and as the human body as in its genetic architecture leaping out from its domain, much as in the way of a caged lion or a caged panther — and its hyper accelerating human evolution first and before human evolution itself can register this progressive exponential revelation at the realm of the literal genome, the language of the body.

So you have this domain, this dormant architecture of the ape, this native and latent and slow moving grand historical genetic current, which is deeply allied to the cosmological unfolding of the universe itself.

So this is one domain of time. If you can understand this. This is a domain of time which functions as a slow moving process of the development of technology. So this is genetic language.

And when you have the added scaffolding of cultural language, which breaks the ground, the dormant latent subconscious ground beneath the Newtonian, which is to say the phenomenal and the phenomenological, the appearance of things as they are, into the real architecture…

Which is much like code breaking, as we’ve discussed here — into the real architecture of nature itself, what you have is a firm break from human history into a superstructural history, which then is reflective and refractive down upon the human being as a making strange.

07:37

So now you have an ape, so to speak, with a cybernetic or technological prosthetic, which is changing actively that ape’s consciousness through a reprogramming.

It’s a systems update in which the hardware itself, which is to say the operating system of the genetic as a language or a linguistic is being terraformed by the epigenetic encounter with this high technology, which is refractory and reflective upon.

It’s the literalization of the forebrain capacity as in the dialectical redoubling of the human being back upon nature — and what is essentially the rending apart of the human being’s source code to reveal its quantum and particulate status in nature. And as such and as so rearranging it creatively.

08:36

and this is the foundation of scientific work on the genome, cloning, splitting of the atom. These are all ways of tearing at and rending the codex of nature where it appears to be this narrative logical stream. It is in reality, a series or an alphabet or a binary code as in breaking down the genetic and cellular structure of an organism.

So this is a destruction and deconstruction.

Which is inherent in the emergent principles of postmodernism as the 1900s advance. This is, you understand, the movement of culture, philosophy, and the concepts and aspects of relational and relative history of the human mind.

09:26

Realities of science and history… mirror this consciousness evolution because this is an unfolding which permeates every disciplinary architecture and structure and reveals them to be one large compound, which is to say this progressive revelation.

And what has happened again is… we discussed the schizophrenic dislocation of human consciousness at the onset of modernity and we discussed how that occurs through this symbolic chain as in the creation of a representative form of language.

10:18

For Wittgenstein language is the problem and it’s a nonsense problem, it’s an impossible problem and it’s insoluble. But I’m suggesting a level deeper here in terms of looking at the linguistics of the genome, as well as the linguistics of the phenomenological construction of space-time as in the waveform.

And I’m saying that this is not so much an insoluble problem as in a real-time code breaking of the architecture which constructs the appearance of language, which is the nature of that which is… it’s the energetic waveform beneath the architectural appearance of the structural language, which would be the letter R, as in the literal appearance of a cliff space or a mountaintop.

And that within itself is a informational status. It has a body of information.

10:52

It’s an architecture of density. Itself in the waveform sense is speaking actively in space and time as a temporary architecture of information.

11:03

Just carrying form as such, as in the letter.

So when we witness, we witness capitalism as a structure, this is a body, an ideological body, which is in many ways, fascinatingly enough, built to hold the sublime insanity and absurdity of the ape with its finger on the trigger of the atom bomb. And I’ll explain why.

11:32

Is that you look at capitalism, it is willing to accommodate, appropriate, consume, and reproduce anything and everything into the architecture of language, value, meaning, and propriety, which is to say capital. It’s to subsume all things within the language of value. It has no qualms about the absurd, the mad, the suicidal. The destruction of itself, the cosmos, nature, Earth; the rending of mankind. And thus it is a lapsing in of meaning and value in a cosmologically architectural sense in and upon itself as in the appropriation of nature into pure imagination; the schizophrenic break of modernity as in the compression of the real animal and deep biological nature and natural into the image of desire, meaning, or orientation.

It’s a totalitarian appropriation of life into image and information; severance from whole and holism to disparate, fragmentary code which itself constructs cosmos as in appropriate-able language structure. It is then simply to extract the atom or the genome and alter it to one’s convenience — if such convenience is to the mass appeal and use of the grand human imagination within the severed bubble of modernity as a spiraling symbolic system architecture — into and through increasingly profound and exponential magnitudes of dissociation from the Newtonian architecture of the solar systemic real as in a processionary movement and pattern of the stars, cosmos, Earth, and sun. We have moved from Copernicus into the cybernetic dream of a death of nature — which is also always already the death of the human being.

11:52

And this has to be mutually agreed upon.

11:56

We’re looking at the creation of an entirely human system, which is to say the insulation of the human being post rupture, post symbolic rupture of modernity, insulating itself from the natural reality of its own existence and creating a fantastical, phantasmagoric realm of illusion and imagination.

And this is something that Ana Tsing talks about in terms of the architecture of of the venture capitalist — and the idea is is always already the fantastical proposal of a fantastical origin or source or phenomenon which must be discovered and as such is advanced the literal moving power the engine power of capital to process this initiative… which is, which promises this material phenomenological return or status of the subject within the architecture of modernity itself, as in a scaffolding of a class system based around the creation of a currency. This is everything from the historical fountain of youth, the gold rush, to the creams, balms, and pharmaceuticals which promise a fantastical ego death from the slow entropic crawl of the sedentary animal toward cell death.

13:21

And so when we talk about currency, there’s again a double meaning — as in currency as in literal movement of energy or an electric current, which of course has outlets.

It’s a process and a function of movement.

Just as to say the movement of currency as in the US dollar, or even now Bitcoin as a further elucidation of the abstraction of this absurdity.

And a further manifestation of the symbolic chain into total abstraction, which is to say it does not even exist, but in the collective agreement that it does.

And this is what’s so powerful about modernity and what is so struggled with in postmodernism and Wittgenstein — really as one of the first great postmodernists — is that there is this metaphorical throwing up of the hands to the absurdity of what has unfolded here and a surrendering to the break which has occurred between the real linguistic status of the genetic architecture of the human being and the grand cosmological molasses-like glacial evolution of species and evolution of the natural organic linguistic of the cosmos… is recombinatory and unconscious and occurring within space-time interactions with materials — that the human being has folded over hyperspace and allowed for and created this synaptic metabolic architecture of being through technology, through the waveform and the light form. This is a system of rending light. Bending light and terraforming consciousness architecture from within exponentially. And it is a exploding and ritual death of humanity and mankind at the level of the literal flesh and genetic architecture of the human being form and body proper.

14:44

This is what you see here with both photography and the digital screen. It’s a progressive exponential growth, as in a deepening of the speed of the outcropping of information and thus the complexity and perplexity of that information.

15:02

And this is the function of modernity’s genius, right? Because it has spun out of the linear time, which is the interlocking gears of the grand cosmic. Whether that’s the solar system, whether that’s the evolution of the human being, whether that’s the progressive unfolding of the universe as a historical process… which occurs over millions of years.

And this is a compression and condensation of space-time into the technological artifact which seeks to actively resolve the human being question and problem.

15:31

Which is to compress and condense space time down into one artifactual object, which is the singularity, which becomes a point. And then beneath that point, a nothingness — because it’s theoretical. This is the transformation between the material dollar and the Bitcoin wallet. It’s a total abstraction into a digital world as in a fundamental, complete dissociation. It is the completion of the project of modernity as in a death of the real in a Newtonian physical sense and a merging of the former architecture into an entirely formless world. It’s deeply metaphysically quantum mechanical. This is a revelation at the level of the architectural reality of the cosmos; peering into the neural system therein; stripping back the manifold of mankind accordingly to access singularity.

And so this is what I mean. And the baseball card is a great example. So I’ve included this 1955 Bowman Salesman, Johnny Logan hand cut baseball card. It’s… on the back of it, it’s the salesman’s advertisement. Maybe I’ll get into the advertisement later, but we’ll see.

16:01

The idea here with the baseball card is it’s so deeply allied to the invention of the computational device as in a digital screen of light beam information, pixelated information.

This is what’s being reproduced as in the printed image on the cardboard card. It is the taking of the wood of the tree and the projection of a profoundly democratic, even political cultural information, which has no meaning outside of the aesthetic register of the civilization which has produced it.

This is entirely internal. Everything from the name to the marketing to the statistics on the back of the baseball card to the team to the color television which is being represented here. This is an architecture entirely of the human being. It is a lapsing of the anthropological and upon itself and a refusal of nature.

16:59

It’s an active use of nature and a repurposing of nature for an utterly meaningless outside of the human being context, cultural construct. And this is what capitalism excels.

And this is where capitalism is such a powerful mirror, reflectory and refractory of modernity, because it is the leaving of the human being of and from nature. Again, the lithium crafted computational device projecting sports betting spreads or pop culture news. And this is something that is protested and rebelled. But it is a consciousness phenomenon.

17:29

And this is why it is rarely, if ever, protested and rebelled successfully — because the human being itself has achieved this hyperspace of nihilism in relationship to the human being form, in relationship to the natural and the cosmological.

It is a refusal of the universal, and as such is a nihilistic inversion of the organic, which is to say the genetic reality or the linguistic of the cosmos, and a repurposing down to the atomic.

Again, postmodernism and the atom bomb are simultaneous.

18:02

As well as absurdism, again, with Samuel Beckett in particular, and Edward Albee. This is a theatrical phenomenon in the theater itself at this period of time and this disjuncture. It is a playmaking out of the consciousness paradigm shift that is blasting off at precisely this juncture and moment in time.

Bruce Conner’s advanced experiential and experimental film work also elucidates this. Rupture of space-time. Archetypal, hyper-acclerated realm of the emergence of mythic time. The mass death of the human as an ancient rite, codified all the way back to the Mayan and Egyptian. A species seeking the hyperdimensional object unto its very obliteration into enfolded symbolic dimension.

18:32

It is a advanced disjuncture in the meaning and being in time which has refused truth.

It has refused the real and ceded into this quantum mechanical observer based phenomenon of the utter ungroundedness and ungravity which is inherent to the linguistic of the cosmos. But again, most paradoxically, it is the real in this sense; is a direct revolution of dreamtime and the obliteration of the physical into projected images of consciousness as in the Hindu Maya, or illusion of the appearance of things phenomenologically — mediated by the artist, poet, shaman, medicine-person — into the utter chaos of the dissembly of the apparent real as in the Newtonian construction of the genetic body and brain of the human being as a progressive revelation as in a biological technology of evolution and expansion of powers and perception. A widening of the aperture of the cell through compounding. A weaving of the genome unto the birthing of a new tongue or thumb or eyes.

It’s a process or a code system which once cracked, cedes into the absurdity of a binary system of the development and stratification and appearance of information.

19:00

Which trickles itself down directly into the current cultural and civilizational fundamental issues, which revolve primarily around the relationship of truth and reality, as in what is happening, why it’s happening, how it is occurring.

And this has ceded entirely into an information overload, which is to say a motherboard or a systems overload, which is rapidly and actively producing human being trauma.

19:30

It’s a, it’s a mass unfolding of the ungrounding of the human being from the genetic linguistic conditions of the being body in space and in time, which is to say the senses, which is to say the nervous system, which is to say the synapses of the brain.

And it is throwing the human being actively into the void of the breakdown and disjection of Newtonian information, which grounds the human being nervous system in reality as a repetitive synaptic architecture of the movement of the cosmos, the movement of the solar system. It’s a lullaby or repetitive motion architecture which rocks the baby of the human organism in the uterine fat of the cosmos and stars as a metabolic process. But what happens when the baby is born and wakes up to the truth of its identity at a collective level; at the level of the consciousness identity itself; the dream of its temporary and temporal absolution in apparent solids; waveform architecture?

This is a, again, as I’ve described it previously, a somnambulism. It’s a rhythm of history and being in time, which grounds the human being in a sense of being wrapped within the blanket of the cosmos.

And this is what is required in many ways for the successful survival and reproduction of the human being. That human being has been thrown into a technological rending and mixing machine — as in the remix, and we could discuss this in terms of graffiti and the advent of hip-hop — that nature itself is being actively repurposed by the human being technology which has reached into the bowel of nature and achieved and understood the recombinative construct and concept… which nature itself has always already been progressively understanding — and hyper accelerated it through technological culture.

21:02

And so you have these baseball cards which are being sold in packs, in grocery stores, in convenience stores. This is an entirely aesthetic phenomenon of the creation of a grand symbolic chain of information, which includes company brands, which includes advertising and marketing for utterly irrelevant and meaningless things that contribute nothing but the sense of a human being… and the grand sense of a human being civilizational architectural bubble, which insulates mankind from the absolute cosmological political realities and instead creates a subsystem, a subspecies system of values, symbolic transactions and mediations, which in many ways, if not all ways — actively work against as in a civilizational and death drive of modernity...

Actively work against the fundamental cosmological principles of biological life in the name of consciousness revolutionary hyperspace. It is a sacrifice, an abolition — jet fuel unto the stars.

And this has to be understood for that which it is, which is to say it is a rejection of the Newtonian and a rearing of the bestial head of the quantum mechanical as in the real organizing principles of the universe, which is a primordial chaos of vision, perception, construction. Is beneath the constructed and into the constructing as a creative phenomenon, as an imagination and in an imagining.

22:52

And so this is what is predicted and elucidated in Hegel as the end of history — and modernity itself is the end of history when we look at it from this clear light of a paradigmatic transaction and transformation.

Because what modernity achieves is that hyperspace and then progressively unfolding through the hyperspace of modernity is the advent and onset of increasing exponential dimensions and levels of absurdity, which occur within the quote unquote capitalist system — which is really nothing more than a way of labeling this consciousness based experience.

And this is a, this is a descent in many ways — into absolute utter chaos and debasement as in a sort of primordial hell, which is rending the human being from itself.

23:20

And revealing that which is beneath the human being. It is a spinning out of the mechanical architecture of the cosmos, everything from the genetic to the solar system, in the revelation of the creative phenomenon of that which constructs it and the tenuous thread of that which binds it, which is a temporal appearance of that which appears to be by way of loose agreement and accord in a groping, developing, uterine architecture of the consciousness experience and experiment of the universe proper unto chemical and architectural bonds which have assembled and constructed the linear and literary appearance of the temporal now as a phenomenos.

23:42

So in many ways you have this deathly nihilism of the meaning of the human being… which is so clearly described in the works of Samuel Beckett, the tearing apart of the cultural foundations in the works of Edward Albee, and the profound nihilistic effects of mass death in modern warfare…

And you have perhaps, progressively into the 21st century, you have Melania Trump wearing a jacket that says, “I don’t care, do you”, when she’s going to visit an internment camp, for instance.

We’re also looking at the Holocaust. We’re looking at fascism as a deeply modernist device.

24:33

Because this is what… the poets and the literary figures and philosophers such as T.S. Eliot or Yeats or Heidegger or Ezra Pound are actively grappling with and they’re elucidating it — through a vision into the literary performance of modernity as a consciousness-based phenomenon.

Because this is a narratology of being. And it is a transformation which is occurring primarily, again, linguistically as in a cultural artifact.

25:01

Which is the severance of the human being into progressive forms of abstraction as an erasure, as in death. So this is a phenomenon — when we talk about modernity and modernism, we’re not talking about art. We’re talking about consciousness. The art itself is just an outcropping and a symptom of this phenomenon.

It’s a description of the experience of this unfolding as it is occurring in real time.

25:34

And so with Pound or with Heidegger, there’s a lapsing into fascism as the resolution of this phenomenon, because the human being is attempting to assert control over this paradigm shift, which is utterly unprecedented in human being and human being history. And the fascistic alternative is to absolutely lock down, stratify and codify human being relationship and behavior in an attempt to control something which has already spun out of control.

It’s a paradigm which has already ended and now we’re in this post-lapsarian mode of consciousness, which is the high strangeness of the code of nature being utterly untethered from organic meaning and being proper.

And this is the realm of absolute and total absurdity which spirals deeply and further into the 21st century with the advent of artificial intelligence, the concept of fake news.

26:33

You have the human being itself, the very architecture, the nervous system architecture… has been primarily and foundationally disrupted.

But furthermore, it cannot locate itself within the modern world because the modern world does not exist. It’s a theory of the mind, which is actively terraforming and transforming the prior and formal natural order all the way down to the, the biome and the biosphere of the earth and the human being body as in genetic information.

27:02

This is an acceleration of the epigenetic phenomenon which is latent and inherent within nature. So what I’m saying here is this is not new, but rather this is a hyper acceleration as in a paradigm shift of the fundamental energetic transformation of the human being as a thermonuclear metabolic system of nesting doll information, which is being translated linguistically down through scales in a lossy file.

But it is being hyper accelerated and there has been a paradigm shift as in a transformation, as in a revelation of that which is fundamentally, which again is the relationship between the quantum mechanical and the Newtonian as fields of perception and dimensions of perception, levels and layers of perception, where the articulation of nature and the natural itself cedes and recedes back into chaos and experimentation in the creative principle of that which produced it and is producing it. Just as much as this is historically new and ulterior, it is utterly ulterior and originary as in the source and source code and force of will and character itself, beneath and beyond all appearances. It is that which is and that which appears to be.

Again, this is the realm of dreams, the realm of artistry, and the realm of creativity. The artist is the bridge between worlds as in the creative principle itself and in the act of creativity.

And this is what the human being is doing. It is tearing apart the root system of reality as it appears to be phenomenologically and repurposing the Newtonian in the name of the quantum mechanical, and thus absolutely disturbing the natural order and throwing it into the chaos which it is revealing beneath itself.

28:21

This is a self-revelation.

So that’s what I got. I’ll catch you on the next one.

SNAP: Thermodynamics, Hunger, the Moloch & Baseball as Solve -- Radical Culture and Grassroots Community

Oct 28, 2025

[]

00:01

So I want to talk a little more about the history of capitalism as it pertains to the history of baseball. Because the two are so fundamentally intertwined… and much of what we understand as capitalism today was engineered in earlier parts of Western civilization, particularly feudalistic Europe and in the advent of the trans Atlantic slave trade, but has become increasingly and exponentially more efficient, profound, and even popular in modern America.

So much of what we experience as world capitalism today, global capitalism today, is the blueprint and template explicitly developed in the United States of America, particularly through plantation slavery, particularly through the genocide of the native people, and through extreme states of indentured servitude, including Chinese immigrants on the railroads, Mexican laborers in the Bracero program, and European immigrants in the factories and the mines of the Northeast.

01:15

So. I’m thinking about how to connect this, right? Because I read this great article earlier by Dr. Stacey Patton on the neuroscience of hunger and obedience in America. And I’m, of course, I’m talking about this in 2025 with the current… as she describes it, biological warfare against the American population with the closure of SNAP benefits. This is the fall of 2025 as we hinge toward November 1st.

We’re looking at… she describes it as an act of warfare, which I one hundred percent agree with. And I think that’s the foundation of modern industrial capitalism, which itself is fascistic and fascism — particularly when driven to extremes; even when it exists in a state of pseudo political neutrality. And what I mean by pseudo political neutrality is that people believe that their coercion is their consent and that acts of extreme political warfare, such as starvation and violence are occurring in foreign countries or against different ethnic populations which do not include said pocket or group… to extract their labor and their resources, such as the history of colonialism and slavery, that convinces the local or the regional population of a kind capitalism. And if you hear this, it stretches back to the age of empires itself.

02:45

And again, to discuss feudalistic Europe and the beginning of the transatlantic slave trade in the 1500s… we are not talking about a kind political, social, or economic system. We’re talking about a political, social, and economic system that functions entirely off of control, enforced scarcity, manipulation, and political violence through acts of engineering hunger and threats of physical violence.

So this is a, I would just describe it fundamentally as a thuggishness. And this to me, the thuggishness or the thuggish nature of capitalism, it’s a fantastic term — because it takes us directly into everything that we’ve been discussing, particularly in terms of the early modern baseball, gambling, control of the owners over player destinies.

03:35

We’re talking about the scrip that mining companies would give the miners and that they would have mining towns themselves and what that means in terms of control and manipulation and power. We are talking about baseball as a culture that emerges from a hyper consolidated and consolidating power construct, which is early modern and modern American civilization as a perfection of capitalism.

Perfection of the capitalistic model… that modern capitalism doesn’t emerge until an Industrial America in my personal opinion. We’re talking about a different form, a more perfected form as in a more efficient and consolidated form of capitalism than is described by Marx just several moments, several decades before.

And so what I really want to tap into here is how baseball interfaces with the development of this system, because this is a system of profound cultural violence and colonial violence. And we almost see baseball as an outlet, which again is democratically constituted, as in the people who are playing and participating and viewing the sport en masse are the proletarian class. These are the people who are selling newspapers in New York City.

These are the people who are sitting on their porches in a sharecropping farm in Missouri and listening to Dizzy Dean pitch on the radio. These are people who growing up like Satchel Paige in Mobile, Alabama — and are playing with any scrap of object or item they can get their hands on that resembles a bat or a ball.

05:35

Crumpled up newspapers, nuts, right? Anything and everything, stones, rocks, sticks. This is the concept of stickball. And I read a really great piece. It was actually on Johnny Logan, when I was doing the last article. He was a child of Russian and Croatian immigrants, and they came to the United States… and... they ended up settling right around the Pennsylvania New York border.

And at one point he’s going and he’s spending his school days looking through a knothole into Yankee Stadium and watching Joe DiMaggio play and just being enraptured by Joe DiMaggio.

And when I’m reading Stacey Patton’s article, this is just foundationally true about what empire does, what American empire does and how it manipulates and controls and violates its population…

To get them to submit to its practices, which again is an economic practice of control, enforced scarcity and labor manipulation, to get the population to do the bidding of the civilizational actors or the empire actors. And this is an enforced, as she says, political theater. This is a series of actions that are being taken and they can be framed however they want to be framed by the dominant apparatus.

06:59

But these are systems of political control, organizing people to get them to act in a certain way. This is what power is. This is how power functions across scales. And so you have baseball — which for a young Johnny Logan, as an immigrant in the United States from a poor family, who… they end up cobbling together enough money to open up a small neighborhood grocery.

Baseball becomes a way of life.

07:33

And this is what, again, I’m bringing it back to this because we’ve been so metaphysical lately. We’ve been so profound in some ways, right? I mean, discussing these massive existential and cosmological features and how baseball intertwines and culture intertwines and connects. That’s powerful from a philosophical and existential and even abstract physical standpoint, but this project has always been a philosophy of the streets — even just in how it’s conducted.

08:03

Through the oration, through casual speech, through direct speech.

08:09

Even when the language becomes complex. Because what grounds us… and what grounds me is when I look at a baseball card or a baseball photo or I look at baseball history, it’s a history of the streets and it’s a history of the common person.

It’s a history of the poor black man growing up in the American South and Jim Crow. It’s a history of Rube Foster, whose parents were slaves. And he creates one of the most important cultural artifacts in American history, perhaps world history, with the beautiful aesthetics and practice of Negro league baseball. It’s simultaneously… it’s hardships, but also it’s profound victories.

We’re talking about Stan Coveleski. The immigrant who had never set foot out of Shamokin, Pennsylvania, who labored in the coal mines and... becomes a Hall of Fame pitcher with his heroics in the 1920 World Series.

09:33

We’re talking about a history… and baseball has obviously changed. It has changed so much in the past 70 years since the 1950s, which to me is the death of early modern baseball when the Giants and the Dodgers leave New York City. We enter modern, we enter late modern baseball.

So… how I want to tie this together is to say...

09:51

You have the emergence of baseball, which is to say the emergence of meaning in a civilization that is perfecting fascism. And this is not a hyperbolic statement because in perfecting capitalism, it’s perfecting fascism. These two things are inextricable. And all that fascism is is hyperaccelerated capitalism. And we discussed this in terms of the consciousness revolution.

So you have these two forces… and it may sound and may have sounded like I was glorifying the evolution out of humanity in the previous essays. This is very much so like the futuristic mode of culture and the vision of culture that is elucidated —particularly by the Russian visual artists, I’ll say in the early 1900s and the 1910s. And it’s no mistake that this is occurring in Red Russia, Red Revolution Russia.

Because there’s a catching on… and this is one of the earliest early modern revolutionary movements. It’s against the Tsarist regime and it’s the introduction of Leninist and Trotskyist policies and ideas, which are communalist policies. It’s a fighting back against the caste system established by the Tsar as an empire.

11:20

And this is a... consciousness stage of revolution, again articulated by Mayakovsky, who says that there must be a spiritual revolution as in an awakening to the true nature of the human being within the cosmos as a grand whole. And this is what we’ve been discussing. And this is what I’m connecting. I’m bringing that spiritual revolution into the political sphere. And the way that it happens is through the cultural artifact of empire which reveals empire. Herein, being baseball, America’s pastime, as a mirror to its underbelly psyche and psychic roots and damage.

And it’s out from under this suppression that joy and possibility emerges. And this is quite simply the history of baseball, even in the practice of baseball, which is a continuous and constant labor struggle — which is both racialized and a class consciousness with those who own and operate the machinery… which is to say, quote unquote, the means of production of baseball itself, such as Charles Ebbets and the historical owners of baseball. The stadiums, ticket sales, teams, player payments. And this is hyper-contracted in terms of the Negro Leagues and professional player living conditions.

This is a power system of economy, which is economizing play. And this is a direct mirror to American civilization itself and the constriction and consolidation of life into a system of extraction. It is turning life into a bloom to be squeezed for blood and water, to be consumed with hyper-efficient speed and productivity. And its networks, its tentacles, arms, wires, and digital airwaves — are all reaching to consolidate world into itemized transaction to feed this insatiable hunger… the beast of Maxwell’s daemon made absolute hunger and largesse within the human psyche as in the beast or the daemon or the minotaur of the deep human nature and animal essence — consumption at all costs before heat death of the universe.

12:59

So you have these two forces, right? And I kind of want to elucidate it like this. You have the Heraclitean play, the child at play with colored balls. And then you have this hyper consolidating consumptive force of the engine of, I would almost say that the cosmic consciousness, which I would describe it actually as Maxwell’s demon, which is a great example, but also the platonic demon.

Which is to say the monstrous force of consumption, is thermodynamic and metabolic.

Which has no purpose other than to consume and reproduce energetic forms. It’s a total hunger of the gulf of stars. It’s a digestive mechanism. I actually wrote about this when I was very young. It’s just funny how it always comes back. I wrote about American capitalism being a… I was calling it kind of this hungry creature, a hungry beast.

And the metaphor of the Moloch from the film, Metropolis, the 1920s film… is one that stays with me to this day, by Fritz Lang. And it’s no coincidence that this movie happens in 1927. It’s created in 1927 — especially in Germany — because this is the... this is the understanding, this is the implicit knowledge, right, as fascism is hitting in Germany due to the profound economic catastrophe post-World War I and the power vacuum which is being filled by this far-right consequence of Hitler making this promise to restore Germany to its proto-native glory. Intersecting with industrial capitalism and factory as in the consumption of man into the machinic fire of mass metallurgic production to feed this great beast of emergent industrial, hyper-accelerating empire. Fascism insofar as it is possible is possible because of the technologization and industrialization of modernity. Because it can consolidate the feudalistic and slave-making impulse and epicenter of world history of empires into a machine that produces and reproduces subjectivity.

14:52

To restore the glory of its ancient days, restore the volk, right, to restore the zeitgeist of native Germany.

So this is all conditional upon economy and economics. Production and mass production. And it returns to food, water, shelter; safety and stability of the nervous system as a metabolic regularity of breathing of the cell organism.

15:15

And this is where… we have the grace here and the possibility of entering into this really profound transdisciplinary dialogue because we can jump from the cosmological to the economic and have a real understanding of enforced political scarcity by nature of thermodynamics and the thermo metabolic mechanism of the human body… and relate that back to Stacey Patton and the essay, Starving You is the Point, the Neuroscience of Hunger and Obedience in America.

And she’s talking about enforced starvation as it occurred on plantations and through colonialism as a way to govern, as a way to control and suppress and oppress populations, creating enforced obedience by fear of the removal of food.

16:08

So this is it. She said she says this is a dysregulation of the nervous system and you don’t have to police the mind because biology will do it for you. She’s saying this is an undercutting of ideology, which again, I absolutely agree with because we have to look at the foundational mechanisms which organize the human being food, shelter, water.

And again, this is the Newtonian and this is the revolutionary in the sense of revolving. It’s a consistency. It’s the sense of a stabilization, a safety in repetition, which is fundamental to human existence. It’s that the reliability that the food, the water, the shelter, the stability… that there will not be, you will wake up and there will not be a fear of violence, right? And that you’ll be able to eat and drink and have a safe place to sleep, right?

And so this is what any real civilization prioritizes is creating these conditions.

17:09

And so anything outside of that is a control mechanism. It’s a mechanism of creating a system of power in which those essential, which is to say life-giving and life-sustaining resources — are withheld to control people’s behavior, to manipulate them. And this, course, is just quite simply capitalism. Not civilization. Ritualized violence against a given population.

17:37

So to connect this back to baseball — is that you have, as we’ve discussed with Dizzy Dean, Satchel Paige, all of these individuals… Coveleski, Grove, Ed Walsh, these people who had nothing.

They are victims of capitalism. Purely speaking. They’re trodden underfoot into this machine, this moloch, which is consuming them. It’s consuming their labor in the factories, in the mines, in the fields. Their bodies, their lives. They receive the bare minimum in food and shelter; max out their energetic and metabolic resources laboring for these factories and mines.

And what baseball represents, and this is what’s so important about culture, it’s the great and grand paradox of culture, is that it’s an ulteriority which can exist.

As a sphere of influence, an imaginative sphere of influence, a theater, so to speak, which can and does combat the political theater of human history, which is a theater of exploitation, control, manipulation, and abuse. This is also a radical thermodynamic and metabolic way… of metabolizing play not productive enslavement to the body as in industrial machine, right?

18:53

So the theater of human history is a theater of colonialism and empire, suffering and violence. But what culture presents us with is a greater theater, the possibility of a greater theater.

And this is the idea... I believe articulated by Terrence McKenna… talks about the meme as a way of creating an idea which is more substantial — which is more true…which is more felt to be true, more intuitively true — that people can latch onto.

So when we talk about capitalism, it’s a system of belief. It’s the belief that capitalism is the way of life. It is the way of existing and thus it is a system of behavior, which is held up by belief and by this principle of faith. It’s a patterned behavior that at the deepest level is mutually reinforced by a culture that teaches it, a family system which reproduces it, and a nervous system which internalizes it. This is, quite simply and shortly, mass and massive intergenerational trauma being reproduced and codified linguistically into the human body politick proper.

And in this way, it’s deeply religious. This… is the push and pull of nature. This is the push and pull of nature between imaginative states, which in turn are the creation of human being circumstances. And this is the anthropological in relationship to the cosmological.

20:04

Because there is the thermodynamic body. There is entropy. This is the basic foundational principle. There is gravity.

There is electromagnetism, right? There is astrophysics. These are the fundamental undergirding principles which organize physical existence. There is the genome. There are the hormones. There are the synapses. Understanding those fundamental physical principles, anything beyond that is imaginary. Anything beyond that is cultural theater, which is utilizing, sometimes weaponizing, sometimes even elevating those basic foundational conditions and impulses and existences towards different spheres of imaginary locality. And if you understand this, this is the creation of political subjectivity out from under history. It is very profound. It is the imagined mechanization of the identity of the political actor out from beyond the thermodynamic cloak of the illusion of the individual itself. The reality is utterly and absolutely ecosystemic in that it is heat and energy movement and metabolic transfer of information as in heat, light, genome — as a cosmological, hyper-empirical linguistic ritual of existence itself.

20:46

This is the history of the theater and the history of cinema just as much as it is the history of political action, the history of political revolutions — in that anything beyond those basic physical and astrophysical and biological circumstances is a political theater.

It’s a psychological and cultural theater of meaning and being in time. And beneath it, culture articulates and rearticulates energy shift and flow as in a devotional or captured practice of drive or will as in expression and exertion and consumption and ingestion and digestion of energy.

21:14

So this is what we’re dealing with — as Patton puts it… the intersection of culture and politics with the body, with neuroscience. Because we’re looking at this foundational rhythm which must necessarily exist. Anything outside of the act of creation of that is not civilization, it’s war. So we cannot call anything outside of the creation of that essential regular establishment of food, water, shelter… civilization — because it’s the absolute bare minimum for a community or for a culture to have those resources at hand.

So you have this continued reinforced scarcity and violence against a population, which is the anti-civilizational government at war with its constituents. It is civilizing as in ritualizing obedience and discipline to power, yes — but not civilizing as in making civil in a humanistic sense. It is easy to get the two confused…

And what culture does and can do, right, conscious culture or culture… that has a imperative to create an established community and community is particularly and especially through play — is that it can create human relationship and subvert control mechanisms, social system mechanisms of oppression and abuse and manipulation and violence, which are themselves the history of the political sphere ad nauseam.

22:35

And this is really all we’ve been talking about with baseball — because as great as it is for baseball to be this grand cosmological or metaphysical revelation of the conditions of play as the universal, we then have to integrate that metaphysical knowledge into practical, physical, cultural, and political knowledge, which is to say a real practice, a sustainable practice to create better, more fulfilling human life.

And so so much of what Patton is talking about in this this article — strategic cruelty and the dismantling of the social safety net born from the New Deal and civil rights era, is to collapse any sort of meaningful culture… and substitute meaningful culture as in real communal participation, which is always necessarily humanistic and gathering around play — with industrial culture, which is to say, culture that is created and distributed to reify the ideological and nervous system imperatives of empire.

24:09

And this is what baseball in many ways to me has become. It’s become a weaponized artifact of wealth and power. It has been commodified upon America’s birth into modernity from its early modern roots into an industrial power system of controlled entertainment. It’s an industrial artifact now of extreme sums of money being circulated… as an institutionalization of the very thuggishness from which it was born and indelibly has roots in.

The gamblers and figures like Al Capone, who was very famously a Cubs fan and had a great relationship with the great Cubs catcher Gabby Hartnett. The 1919 Black Sox World Series and the scandals of gambling in early modern baseball.

24:37

These are all emerging from the political circumstances of the most impoverished, the most diminished in American civilization who fought for a place in baseball from a position of survival. As Coveleski said, baseball is a worrying thing. Because the next day, he could be headed right back to the mines.

Through created fear, scarcity, and pain, which was attempted to be at least somewhat balanced by the work of FDR and the New Deal. And then furthermore in the 1950s with the creation of significant social systems for education.

The initiative by the Black Panthers for the free breakfast for school children, which became institutionalized in American civilization. And this is the real fight, right? It’s a humanistic fight to create and establish the foundations for a real civilization.

25:48

And so we can’t really describe anything that’s previously existed as civilization. But what culture can do, especially culture from the ground, and baseball is a culture from the ground.

It’s a culture that was created democratically through experimentation and innovation, through those who were playing and are playing, creating and innovating the rules and constructs and participating at a ground level.

This is why I so deeply appreciate the concept of like the Knothole Gang or the street ball game. Because what these are is these are democratizations of baseball and baseball history. They’re not institutionalizations as in economizations. They’re bypassing these industrial bureaucratic systems of control and access for direct communal participation and revelation. They’re grassroots organs and instruments of a real baseball; as such, a real baseball history.

26:24

And whenever we’re talking about economizing… phenomena or a system, we’re talking about accelerating it toward fascism as a model, which is the abolition of the human being and a replacement of the human being with a empty labor container, which is being controlled and systematically destroyed as in emptied out of the nervous system of the body into a machinic device of production and reproduction in the name of ‘progress’.

And this is what the philosopher, Artaud, the French philosopher in the early to mid 20th century in France expresses explicitly as a lived and felt experience. He’s experiencing a death of life viscerally… in a cultural empirical mode, which is actively gutting out and destroying the human being politically.

27:19

And so when you have Satchel Paige in Mobile, Alabama, dedicating his entire life to baseball, all he wants to do is play baseball — you have a man and a child and a boy who has committed himself entirely to what he perceives as a deeper truth. And Heraclitus would agree — is a deeper truth of play… out from under the profound political violence and suppression of his time, which is reified in the fact that he cannot become a Major League Baseball player until he’s in his 40s due to Jim Crow abuse and segregation of the game.

And furthermore, when he’s inducted into the Hall of Fame in 1971, he’s placed in a separate wing with Negro Leagues players, a segregated wing — in the 1970s.

28:03

So we have to think about this in terms of the possibilities a real radical communal culture can bring.

28:14

Because that culture in practice, as a resistance model, is a way of organizing, collectively, out from under empire.

28:26

And removing this machinic hand, right, this puppet hand — from that which controls biological destinies, which is to say food, water, shelter, physical safety — and creating social conditions at the ground level and on the ground level in terms of a real grassroots politics, which make possible the dignity of human life among each and every one of us.

And I discussed this so much with baseball, particularly Cuban baseball.

Because this is the function of an ethic of play in communal space, the function of an ethic of play in cultural and social space. It’s to establish those connections. It’s to create the sense of community and functioning together and being together and thus supporting one another. It is not to continually and further fragment community through industrial social governance, which is to turn the human being into a labor machine for the power of a select few who are pulling those strings.

29:44

And this is the industrialization of baseball as well. This is simultaneous. It’s occurring in the cultural artifact of American civilization, just as it’s occurring in and as American civilization itself. This is a power consolidation that is being attempted here.

And to return baseball to its true grassroots origins, the singing, the dancing, the food, the music, and the game — that is, to me, the roots of modern baseball as in an integrated game in Cuba at the outset of 1900.

Is to create the real foundational conditions for civilization, which is to say collective communal engagement and the upliftment of the ecosystem of community itself through the establishment of the basic necessities, but furthermore, through the creation and reaffirming of culture as community, as a political and social practice.

30:50

So that’s what I got. I’ll catch you on the next one.

The Architecture of Eternity: The Physics of the Technological Transformation of the Psyche

Oct 29, 2025

[]

[]

00:01

So I’ll give you one here. This is kind of just… reflections on the technological revolution itself. I’m not seeing nearly as much dialogue or discourse on this as I feel like there needs to be or there should be. Because — a great way for me to visualize this is again, right, as is typical for this project — when I’m grounding history and the material phenomena, artifacts of consciousness as in consciousness evolution and psyche transformation, I’m looking at these image artifacts in baseball history. Photographs, cabinet photos, even posters or... broadsides, things like that.

Because when we’re looking at the image artifact, we’re looking at the projection of the psyche with the expressive vehicle that it has available to itself at the time. Any linguistic or any language is going to be fundamentally distillable into a phenomenology as in a perception or perceptive mechanism.

01:14

So this is to say any symbol or any letter, any sentence… any genome is going to represent itself phenomenologically as an image.

This is the same thing as the waveform — and this is the connection between music and the visual arts. And this is the connection between the waveform as in the psychotropic field of consciousness or psychotropic field of consciousness itself… and that way in which it manifests or embodies itself in space and in time.

01:40

This is fundamentally the realm — again of… it’s the realm of the mythic and it’s the realm of the depth psychological and it’s the realm of the world historical tales of genesis, creation, destruction, and the Hindu Vedantic maya or the samsara.

Because really what we’re talking about at a physical, biological, cosmological level is just transformations of the field of consciousness or the field of the waveform as it is currently existing.

And by currently existing, it’s something to say of a live wire or electricity. And I saw this great Niels Bohr quote the other day. He said… in advanced science and advanced physics. Really what we’re doing is we’re using poetic language to elucidate reality. We get to the point where poetic language is the only symbolism we have for truth.

And this is the grasping at — which, when we ground this in history and materialism through consciousness artifacts, particularly through human culture… because human culture is the human experience of the transformation of consciousness vis-a-vis technology. And this is why when we get a little too far up into this waveform idea of the psychotropic sphere, a psychotrophic realm of consciousness, we get too abstract.

The deepest, most successful poetic ground is of a direct interface with the experiential reality of material history to elucidate the deep historical current and phenomenon of the psyche and of consciousness as a unity of the quantum mechanical and Newtonian spheres as in a transformation.

03:07

And this is the difficulty, especially when you’re grounding theoretical physics, theoretical science, quantum mechanics… in a formula or in mathematics. And this is why I draw it into history and culture.

Because we want to get the waveform into space and into time and talk about how it transforms in a realm of locality. And the easiest way to do this for me is to just draw it directly into modernity and look at this 100 year time scale, this 100 year period… we could say more like 150 years.

Kind of moving through the advent of the photograph into artificial intelligence and the personal computational device — to look at how it changes the representation of that which is, as in reality itself, because it’s image producing.

03:56

The genome is image producing. It’s not only producing the phenotype of the body, which is also the human experience, indelibly and ineluctably…

But furthermore, the human experience is itself always already producing images as in its perceptive aperture.

So this is the psychic status of the human being itself, which is a way of viewing and a way of seeing and a way of perceiving. It is reflecting or refracting itself into creation as in representation via and vis-a-vis the status of mind and consciousness which is producing and reproducing it — via mirrors, via appearances, via reflections. And this is the basic depth psychological concept of projection — as a foundational historical phenomenon of creating without that which we perceive, experience, and embody mythopoetically as a technology or status of being as in the human being aperture within and as a fundamentally artistic, creative, and imaginative history of appearances; events.

04:41

And this is precisely where we talk about the interfacing with technology.

So when I’m looking at this 1881, 1882 Toronto baseball cabinet photo, Toronto baseball club… you’re looking at this precipice, along… again, along with Nietzsche, along with Oscar Wilde and Baudelaire and Edgar Allan Poe — this precipice of human consciousness verging on utter and total transformation out from the agrarian… and baseball itself becomes this technology on the precipice, the wooden bat and the covered baseball.

These technologies — as you can see here with the catcher’s mask, creating a prosthetic uniform and physical devices in which to manufacture the cultural sport and element of baseball as a process or a figure in space and in time. It is itself unnatural, or a repurposing of nature into an image form which represents a psychic status or mode of being; collective being.

And then furthermore, the capture by the early photographic device — the transposing of that early photographic light capture device of the negative etching onto the chemical canvas of the photographic paper… which has then been attached to a cabinet backing here.

05:51

Is the intersection with this sort of Paleolithic sticks and stones, agrarian, emerging industrial consciousness — interfacing with this light transformation device of the camera, which we then later come to know in its more advanced and shuttering forms as the computer or the cell phone or even the video camera in terms of its depiction and rendering of light continuously and continuously progressively unbound by the single rapture or frame or framework of space-time as an instance or occurrence. Light becomes unrendered from the predictable form and reproduced within the moving container of the technological body. This — as in the bottling of the nuclear sun as that which both creates and alights the eye and phenomenologically constructs and depicts and interprets figures and forms. It is a light play of the appearing real; the embodied.

The camera is taking light from space and transforming it into an object in time which retains timelessness, which is to say it becomes a temporal rift, which represents that status and space of consciousness in which and in when it was depicted. This is not just phenomenologically, but also implicitly and explicitly therein, psychologically.

It grabs that moment in time and makes that moment in time eternal. But what we have with cell phones and what we have with computational devices and what we have with artificial intelligence is we’re continually rending and rendering timeless moments — to the point of which we lose the linear agrarian sun and moon cycle form of space time and were thrust into a continuous eternal presence, which necessarily is ungrounded by the physical. Which can be created and recreated, produced and reproduced entirely through digital light transfer and transformation.

So again, this is an uprooting of consciousness from the physical terrain of the biological body and implanting of it, seeding of it into a digital realm, a sort of pseudo terrarium where consciousness now increasingly lives and is being inputted and is inputting. It is a dissociation of nature into a radical recombination, into which the Newtonian, Darwinian, glacial form of the human natural evolution is being rent; pixelated.

07:31

So this is a lift, this is a lift off from space time.

Baseball itself in many ways documents this bridge because it begins, it is founded, it is organized both here in Canada and Cuba and in the United States… in and around this hinge. It professionalizes in and around this hinge and it mass popularizes.

It peaks and it rides that peak through the creation, advent, and distribution of the photojournalistic artifact at the turn of 1900 into the early mid-1900s.

08:13

So this is what’s so fascinating to me about the photograph — because the photograph itself no longer resides in the interpretive realm of the illustrative, whether that’s the Lacaux Caves or the painterly, as in everything from let’s say Rembrandt to Duchamp…

In the sense that we’ve left the interpretive realm of the human being and we’ve entered the realm of the technological device rendering the human being.

The human being is now being captured, the human being is not capturing — which again, as I discussed, this form of advanced digital industrial technology is inherently predatory — in the sense that the human being is formerly a predatory form of consciousness which is attempting to bottle, interpret and capture life.

And the camera itself becomes a philosophical model… in the sense that it captures the human being within life and renders the human being with a level of authenticity that surpasses the human interpretive device of the psyche.

09:41

And this is what I, this is really kind of the sweet spot of what I’m discussing when I’m talking about the historical material of the timelessness of the photograph and the depiction of the terraforming of the human psyche — because the human psyche wears itself like a mask in space and in time.

And it wears its status or its space or its field, its imaginal field, its terrain. This is something that’s worn in the body, on the body, worn in the expression and worn in the active movement. This is described by everyone from Picasso to ancient Chinese medicine to the modern advancements of the unity of psychology, epigene-ology, and symptomatic physical medicine and diagnosis of the body by members of the modern medical discourse such as Gabor Mate.

Because this, again — the human being and the human body is a genetic and epigenetic technological device of psychological interpretation using synaptic and neurological information. This forms and informs the body and the status of the body in real time — from everything from self concept to the constriction of the blood vessels to the movement and consumption and decisions of the body and person day to day in a space-time sense of ambulation and movement in the field of play in and at large. This is what makes up, in grand sum, the ancestral, deep genetic evolutionary architecture of the incarnate body and form and apparatus of the human being itself at large.

10:06

This is the basis of somatic healing, nervous system healing, even energetic healing… as it’s understood in the ancient traditional Chinese and emerging increasingly with a quantum mechanical integration of healing and medicine into the formerly Newtonian based symptom and symptomatic treatment system of Western medicine as an opacity of the body and a severance from the greater field of the mind as in a consequence of Descartes.

And this is where we really, really, really get into something interesting… because the psychological status is everything.

And this is well understood in the Gnostic precepts and the Neoplatonic precepts of the understanding of the mind being the highest universal power. This is a hierarchy of frequency and density and thus integrity as in losslessness of coherence in the waveform as articulated in the, again, mythopoetic depiction of the orders of the angels in Christianity, or the Buddhic journey to enlightenment or nirvanic consciousness… just as much as it appears in the mapping of hell and paradise in Dante. These are energetic densities of revelation; depths of density in incarnate suffering as in addiction and repetition — as would be described as karma in the Hindu sense; dharmic light body as depicted in shamanic utterances; states of blissful totality and union and unity with the grand synaptic energetic architecture of all life and being as in a revelation of the lossless form of being through the reflectory, refractory prism of the body as a node of interrogation as in to the quantum mechanical self with the guise and waxen body as in a node of space-time, dressed in thermonuclear clothes.

10:58

And again, when we talk about the field of consciousness itself proper and the field of psyche itself proper, we’re talking about a universal transformation and transformative apparatus through which the material things, as in that which they appear to be… the waveform, the frequency at which they are appearing in space-time as embodied tacit and taciturn agreements at the molecular and chemical and elemental level — which is to say, these are microscopic bacterial and cellular unities which are assembling themselves through a coherent agreement as in a genetic script…

In and upon the field of play, in the field of space-time — and are thus themselves always already being transformed and changed at the molecular level, and thus foundationally, at the level of the waveform in that which they appear… and you could say, warble in and out of space-time.

This is a frequency and a signature of information, which is being changed in itself through space-time, in its various different interrelations. This is precisely how molecules vibrate and disperse and interact and engage as a heat density and a transformer through heat in which water makes steam as in a phase change. This is an excitement and a hyper-acceleration primarily through heat as the grand thermonuclear cosmic principle of energetic proximities of transformation… which is to say this is visualized in a Newtonian sense as gravity, relativity. Proximity which rends — as in the case of the black hole and the star; proximity which mends… as in the revelation of the real energetic phase change principle of transformation behind the phenomenological appearance of the form space-time itself.

12:06

These are the forces and the force fields… as in electromagnetic fields, which are at play in being in time.

And this is again where we’re touching explicitly the psychological dimension of the transformation of the waveform, which is a synaptic electrical wave field of mind.

12:28

And that the body itself is mind, just as much as the brain is mind. If you can understand this, right? Because these are different statuses of the development of the stratification of sentience. The body inhabits worlds of being and evolves both in unison and separately as spheres of information. This is a cross-scalar principle of interactive relationship and discourse in the field of cosmological being proper.

We talk about animals or plants, the terrarium of the Earth itself. This is an ecosystem of emergent awareness.

This is the ecosystem of emergent energetic interactions, electrical interactions, nuclear interactions.

13:00

And this is fundamentally social — because it’s an energetic exchange… which returns us to the thermodynamic and the thermonuclear as the exchange rate of the cosmos itself at and across scales. And so when you have this energy changing forms, there’s different ways to discuss it, whether you want to discuss it in terms of the metabolic or caloric dimension of the human digestive system… whether you want to talk about it as in terms of the chlorophyll of the plant’s blood, or Galileo’s precept that wine is a mixture of sunlight and water. This return’s us to Bohr’s poetic language as advanced science observation.

This is a profound elemental science that is breaking down the appearance of things… that which they are and they appear to be… down to the molecular level and then beyond the molecular level into the wave form which is their true transcendental, post social, apocalyptic unity of free light transformation information; transcendental incarnation as in fundamental aspect of self insofar as it is incarnate into the field as a scalar, higher dimension.

13:51

Which is the taciturn agreement… which produces the appearance of the gathering of molecules itself and then thus creates the status of water as an elemental signature. This is a signal change… a binding, compound, comprehensive agreement, which at any moment can be abolished by any sort of situational circumstances or terms. Transformations down to constituent parts as in a recombination and a rending down to elemental, molecular, and atomic pre-scripts and post-scripts.

And so when we look at human history, right, we’re grounding this in human history… and this is what’s so fascinating about human history — is that we’re looking at the technologies.

I mean… much of human history is a repetition of same. The pre-1900s, even pre-1800s, right, as we recede further and further back into a mechanical trance of kind of basic elemental object forms in human culture and technological awareness of utility, such as the wooden ship, right?

We’re talking about... effectively pre-lapsarian modes of technology, which themselves are very much so still entwined with nature. And this brings us back to the advent of the forebrain.

15:15

Before the advent of the forebrain, we’re looking effectively at a status of holistic nature. And where it gets fascinating to me — is at the break of 1900 — with the hyper acceleration of digital technology, digital information, because this is effectively, at a molecular level, the generation of a... a profound heat source in and at the level of the human species equivalent to a rocket, which is igniting the water molecule, heating a pot on a stove, so to speak.

And this is an elemental increase of chaos, which is to say an increase in space-time interactions, producing wildly unpredictable and chaotic outcomes — because the human being has breached space and time fundamentally in a quantum mechanical sense. And a key to this system is the transhistorical element of dredging up coal and natural gases and oil out from the sedimentary body of the fossil earth to produce massive amounts of heat. And with this massive amount of heat… resurrected from the dead, so to speak… you have a massive amount of strange transformation. This is a primary dredging of primordial technology, being turned into a psychological and historical material metallurgy of skyscrapers, computer chips, sound barrier breaking jets, and astronautic implements.

15:42

… Through its technologies, through its consciousness, through its perception… and quite literally through the discovery of quantum mechanics — as such has begun to subvert, turn inward on the fundamental, elemental precepts of reality itself… quite literally the grounds of existence as in a oil field…

Such as the creation of the light bulb in relationship to the sun, the creation of the car in relationship to the ambulatory capacities of the human being or the four legged animal, creation of the airplane in mimicry of the bird.

16:12

And this is something that da Vinci was very early on working on and understood… this motility, this motory mechanics of the universal and deciphering and encoding this in such a way as… even going deeply into the heart itself as an energetic vortex as it appears — as it is an organ that is wrapped around itself, vortexually…

And understanding this, the way in which the shape of the vortex of the heart appears is actually itself the field that it produces electromagnetically. This is spheres of apparent information digestible, discernible, even acceptable to to the waking, apparent eye. That which is perceived or perceptible; the implements which allow us to peer deeper into astrophysical, bio-chemical-mechanical; energetic realities and dimensions of the formation and formulation of being in time itself; the nature and heart of being as in the character of being proper.

And this is very nuanced. This is very… this is a very nuanced, poetic but also deeply scientific and scientific methodology… into the source and heart of nature as that which continually reproduces itself at scale, at levels and at scale.

And this is breaking into the breach of the code of nature, which unifies us with the primordial genetic cosmos itself, into this moment here in 1881 with this cabinet photograph of the Toronto Baseball Club and the formation of a coherent professional league in Canada towards the turn of the 20th century.

17:37

This is, again, I just, I want to get deep into that connection in that gear of the psyche as it informs space and time and changes form.

This idea that mind itself is that which turns the gear, which produces the machinic appearance of reality.

And this is no easier to see than in the evolution of the human being itself — is that which reflects upon nature and begins to tinker with it from everything to fire, to cave painting, to the consumption of the plant or the animal… the psychotropic effects therein in some cases… such as the Eleusinian rituals in ancient Greece.

From there — to the creation of a sport like baseball, which is the carving of a bat from the wood of a tree… or the camera, or as we discussed, the cell phone with the mining of precious metals — the use of oil from deep in the earth, natural gases to power civilizations with cars and machines that build skyscrapers, that house massive factories and those who work in those factories… such as New York City in the early 1900s.

We’re looking at a very high strangeness, this… to modern civilization, the modern consciousness — appears to be normal, but really… it’s a radical disjuncture.

19:14

It’s a psychotrophy. It’s a transformation of the psychological field of nature and existence itself due to this radical recursion of technology, which itself is an innovation equivalent to and on par of the spark of sentience produced by the recombinative powers of nature and space time through chemical and elemental interaction.

This is really what technology at a human level, especially digital and digitizing technology, such as the technological evolution and revolution of the 20th century… is equivalent to truly.

Because what it signifies is a, we could say archetypally — Job-esque lapsing of consciousness and the emergent psyche, up from the sentient being and sentience as… is a chemical and electromagnetically produced experience through the synaptic architecture of the human being and the nervous system architecture of the human being.

It’s profoundly advanced organic system, biological compound, which is producing consciousness, which is reflecting itself upon this substratum of nature, this archaic architect, which is producing it.

20:31

And then furthermore, this is doubled in the 20th century with the advent of… the increasing advent of these kind of codexes of nature, these technologies which reflect in and upon nature. Again, everything from the car to the light bulb to the cell phone.

And so this… is actively, right — if we, we look at the human experience and this is why the photograph is so key… and the photograph being invented at the outset of this kind of expedition of industrial consciousness is so important — because it is no longer the human being interpretively depicting reality. It’s the photograph archiving, depicting, exhibiting the human being as it is being radically psychotrophically changed by the technologies it is unconsciously reproducing. The human being becomes Rilke’s Panther in the cage of a new industrial reality of the one who is viewing the caged animal as it shifts and growls upon observation of the new form which has caged it — the new observational tectonic reality — the plate shift of the psychotrophic revelation of modern industrial digital technology as that which is suprematively rending and rendering the animal from its aperture into a blue light field of being — a total condensation of vision, space, time, and form — in which the protean humanity is lapsing into like a space-time hyper-acceleration of black hole architecture… a higher gravity and mass and condensation of the real into quantum symbolic form.

21:17

Discovering and uncovering, from the sedimentary foundation… not only of the bowels of the earth itself, but the quantum mechanical field of the cosmological existence of nature itself.

And so you’re actually watching the human being being made strange, being terraformed and destroyed by the very technologies it is producing or creating as a sort of psychological lifeblood or creative artistic lifeblood out from the bowels of nature — and the elemental chemical and molecular and even hormonal potentialities of the earth, it is drawing out these strange metallurgies.

And this is entirely unconscious and almost a destined collective encounter with the shattering infinite as a codebreaking exercise of the quantum mechanical out from the historical relative gravity. The pattern of somnambulistic unified nature as an interiority made ulteriority vis-a-vis awakening as in self revelation to the fabric, field form of true and utter sublime and subliminal being itself. As in a folding in and collapsing of space-time into a singularity as in a field of gravity of consciousness lapsing out of field consciousness into totality. And thus, dissolution of the appearance of forms through the singularity of the blue field of the screen of the device of perception which compresses and condenses phenomenological space-time reality into the jar of the scrying glass which produces and reproduces the infinite as in Vishvarupa — the infinite, totalizing of all forms. The essence made manifest as a psychological aperture of revelation. The shapeshifting sight of seeing made full field of vision. All possible; thus, all appearing; thus fulfilled.

22:12

This is the literalization and manifestation of the alchemical consciousness as it was understood in medieval times.

It’s the realization of the potentials implicit and latent within that field — because what’s happening is the lead of the earth is being drawn out and transformed into this magical screen of blue light which can represent the most fantastical images and create forms of immediacy which would be hitherto unprecedented in a, let’s say, Paleolithic or pre-lapsarian or agrarian times… in which the mode of consciousness is utterly and elementally tied to nature — with maybe rudimentary tools such as the spear or the arrowhead or the understanding of how to create fire.

22:40

These are technologies which are very rudimentary recombinations that lie dormant and latent within the energetic potentialities of nature itself, which is to say the chemical and elemental compounds, which are the composition of all that is.

It’s the language of the species — not only in that which it speaks, but that which it is at its deepest level.

And then beyond that, these are... waveform densities, molecular appearances, chemical appearances in space-time with different recombinative properties. This is the basic foundation of chemistry. Electromagnetism and chemistry are the same essential property of recombination and field at work within space-time, just as much as mass and density function at a deeper level gravitationally, alongside energetic current and currency as flow of information. The interlocution of literate fields. This is also something that applies across fields. Scalar. It’s a morphic device — because it’s a linguistic device.

23:30

And so what you’re experiencing there is… again, is akin to the level of strangeness in which… what makes possible with the advent of the forebrain, the human being can reflect upon itself. It can reflect upon time.

And this kind of emergent consciousness is represented in everything from the voices of the gods in Homer to the Bible; the psychic resounds of the prophet conveying the voice of God.

Because what we’re discussing here is the human being encountering the vehicle of higher intelligence which carries it into form… and thus discovering and encountering itself as a vision or an experience of a higher power or a higher force which is pre-phenomenological and is producing the human experience and the human body and the relative field of space-time as a psychic reality, as a consciousness reality — which is something that is supernatural, terraforming, and transpersonal.

24:32

As it is the creative force and energetic power and super system of all things, which is continuously creatively organizing and reorganizing based on this total field. It is an emergent paradigm of consciousness absolutely.

24:53

So this gets us into the question, how are planets formed? But it also gets us into the question of how is the human being working within the planetary consciousness? Which is to say the field of emergent devices — everything from kind of the protean leopard to the Neolithic mind and into 1881 in Toronto with the formation of early baseball teams in Canada.

How is the human being working with this primordial ground and progressively revealing this deeper architecture and thus tinkering with it at its foundation and producing… because this is what the psyche is doing, especially when we hit modernity as a critical mass.

It’s producing new chemical combinations which are producing new interactions, reactions, and explosions, even down to the atomic and molecular level.

25:46

Such as again, the atom bomb or the work of Fermi. This is a recombination at the deepest level of the psychic blueprint of nature, the elemental source code or the primary linguistics.

And it’s a rearranging of that psychic alphabet. It’s a tinkering with the genetic code of mankind to produce these new outcomes. And this is not, again, this is not to moralize any of this because I think it’s such an easy thing to do… and it is being done consistently and constantly, but it is to see it as what it is.

And this is what technology is in an anthropomorphic sense. Just as we have the primary mode of technology, which is the creation of the forebrain in a natural context through biological, chemical, and elemental recombination — which is the human being itself developing and fermenting in space time, so to speak, through different species level formations. We’re looking back through the eyes of the fish into this scenario and into this space.

26:47

And to see what happens over this span, which is really no more than 100 or 120, maybe 150 years — you have the advent of the camera, which signifies psychologically as a historical archetypal circumstance, that technology is now witnessing that which it is changing. It is the emergent Frankensteinian out from under both its willing and unwilling creator which unleashes the new symbolic order.

The human being is becoming changed through the unleashed Pandora’s box expression of the technological… which is most succinctly summed up in the lithium mine, which produces the portable digital blue light screen, which can now with the advent of artificial intelligence on top of this blue light screen… produce whichever image, whichever symbolic chain one wishes to manifest with such increasing authority, realistic authority — that the bounds of space time are being compressed down into this blue light energetic system, this electrical system of image production and sonic reduction… which again is a mimicry of the electromagnetic field of being and the discourse of waveforms within that electromagnetic field. It is a device to reproduce immediacy with the conviction of the appearance of reality, of being real; of the character of being itself.

28:02

This is all sound image transformation. But the ability to now manufacture everything entirely within the realm of this one singular device, this singular object device… it has compressed all of space time, the potentialities of space time, and then even beyond space time into the imaginal creative realm of the psyche — which again is the bridge of the artist and the philosopher between the temporal and the eternal.

It has created the possibility of all things…

to be within one imminent artifact. And this is obviously, again, the death of the photograph, because the photograph cannot change form in time.

But what the photograph is doing in an early modern sense is depicting the changing form in time, which is the human being’s progressive, increasing, exponentially revelating encounter with technology itself as a force and an instrument — which itself has already and is already overtaking the human being and witnessing the human being’s change into this high strangeness… which is the rearranging of the psychological architecture of being itself, even localized within the nervous system of the earth itself as an ecosystem.

29:29

This is a terra-formation and everything from the tearing down of the Amazon jungle to smog in Mumbai or Beijing to the bomber airplane to the atom bomb to the robot dog.

Or the robot with artificial intelligence incorporated or programmed into it. This is a progressive revelation of things that are highly unnatural and at the same time natural, right? This is kind of how the contemporary pragmatic mind might conceive of technology. It’s... something that does not exist in nature, but yet has been produced from nature, the foundational elements and organizing components of nature.

30:11

Which is to say the principles underlying and inherent within nature, as well as the molecular structures and waveform frequencies. The script in and of which it is actively taking form and changing form at a supra-phasal sense.

It’s a taking of these foundational linguistics and writing speech and writing script into the terrain and field of space-time to produce radically new outcomes. This is from artificial intelligence to synaptic code to brain waves to fossil fuels to the splitting of the atom.

And what’s fascinating to me is not so much these technologies itself, but what these technologies do in terms of their redoubling in and upon the human being.

30:39

As a precipice, because the human being itself becomes the interface… much in the way that Nietzsche says that man is a tightrope between God and the beast or the animal — that man becomes a tightrope between hyper-accelerating, increasingly modern technology revelated at and from his own hand and form and breast as in the incarnate bios producing a technological representation from and beyond the symbolic chain of the representation of thermonuclear, genetically scripted man — and the protean past, which is the script of and from which he speaks, the glacial evolution of nature itself… and the grand paradox and tectonic tension therein.

It’s the language of nature which is absorbing what it itself is doing and has done, which has breached the language of nature.

31:08

Through synaptic transfusion of information, which is a level of sentience or cognition… which has allowed it to breach into that source code and recombine that source code to produce radically new outcomes outside of the bounds of the natural evolutionary trajectory and teleology.

It’s a hyper acceleration of natural evolution itself. We look at the human body or the human being and we say… nothing foundationally has changed significantly. We’ve added the opposable thumb.

31:38

The forebrain has become technologically advanced over the couple past hundreds of thousands of years.

But realistically, nothing within the human body has changed in terms of that glacial natural evolution, the biological and genetic evolution of the human being.

But what is happening here is that, again, it’s this being torn, it’s this push and pull between the glacial and the hyperrevolutionary, hyperevolutionary, exponentially evolutionary element of technology as it pertains to and interrelates with the synaptic and nervous system architecture of the human being itself.

And this is what is rending the human being from time and thrusting it into hyperspace as a chamber of revelation, specifically through the mediation of the digital screen as a blue light device, which can produce any outcome at this point with ease and with the conviction of truth.

And this, again, this is the shattering of the Newtonian realm, which is the embodied truth of space time and the architectural design of space-time — because the human being consciousness is no longer reliant on space-time to produce outcomes.

And this is the bewitchment of civilization and culture at the hands of technology… is that it has been rent from the synaptic sun-moon architecture and the rhythm of the human being body and thrust into this technological paradigm where the lights are always on.

33:05

This is a shattering of the architecture of the human being… as it is a reliant rhythm of the animal to survive within a ecosystem which remains the same.

And with the advent of the robot dog, the atom bomb, and the fluorescent light — you’ve entered into a dimension which no longer has any hold or gravity or ground within that architecture other than the fundamental energetics as in and such as electricity, which power and produce this ulterior reality… just as much as you could say the necessary architecture of the camera that is required as an energetic device and transformer… to capture light, transform light, and translate light into the physical image of the photograph as a chemical transfusion.

Of the capturing of this light source… etched into the negative and then chemically rendered upon the photographic sheet.

34:11

So that’s what I got. I’ll catch you on the next one.

Industrial Maya: The Uterus, Public Image & Schizophrenic Birth of Modern Consciousness Through Photographic Technology, Baseball, and the American Empire — 1870–1890

Oct 29, 2025

[]

[]

00:00

So this will really help. I’m talking about uterus, the space between the public image as a transformer and the illustrative past. And with baseball history, this is most clear in the Harper’s Weekly illustrations. And the break that happens, which again is the schizophrenic break that I’m elucidating that happens at the turn of the 1870s into the 1880s.

00:30

With increasingly progressive photographic technology, which is then industrialized, right? In terms of the industrial production of the photograph as a printing plate. And this is where the, we’re talking about the memetic substance of history. So M-I-M-E-T-I-C and M-E-M-E-T-I-C. And what I mean by both of those instances,

01:00

is that this is a technological speech of the camera speaking back into history and becoming the prime orator. And this is a transformer of consciousness in the sense that technology is now the hinge, or the technological image is now the hinge of history, and that it is the supreme elucidator of truth. That it has itself become primary objective information… wherein

01:29

The photographic technology allows for the depiction as in pixelation of genuine insight and the inherent and inherited cognitive intelligence of nature itself. And so I’m looking at a couple of different artifacts here, this 1880s Yonkers New York baseball team cabinet and this 1888 Jersey City Skeeters broadside. We’re looking at this precise hinge moment.

01:58

where the photograph, right, there’s this transcendental space which is incarnated with the development of photographic technology, which is to say the true reproduction of reality even within the scope of the camera’s lens, which then of course is chemically transfused light upon photographic paper and then is mounted on the cabinet backing. You have this moment of this transcendental incarnation, which

02:25

which is still uterine in the sense that it is relegated to a locality. When we’re looking at this locality of the grassroots photograph, we’re looking at as well, simultaneous, right, with the development of baseball, the photographic technology… as well as the incarnation of the modern American empire, which itself is the incarnation of modernity. We’re looking at...

02:51

this manifold, trifold representation, which is the sort of Hydra heads, are emerging simultaneously. And this is what’s so profound about American civilization and baseball embedded within American civilization, because it’s a technological revolution of a birth of a new paradigm of consciousness. And when we look at this transformation, we’re looking at this movement again, from this agrarian, it’s out of the woods, out of the wilderness.

03:19

This is the first depiction of man emerging from the primal state of scrawling cave paintings upon the wall into this, what you see here with this Jersey City broadside, the principle of the expansion of the private mounted photograph — which is again, personally possessed and primarily aligned to families. Observe the term nuclear and nuclearity here. This is a locality of the grassroots object and a techne relegated specifically to its immediate incarnate field and dimension. A synapse searches for an expansive measure, or a way to breach the immediate sensate field of vision into deeper neural architecture and aperture. This is also a cosmic exchange of thermonuclear light.

03:49

This photographic image becomes mass reproduced and broadcast, which is to say moved around and about the polis.

04:07

And this mass reproduction of the technological image is itself the birth of a language, a communally shared language of the photograph as a supreme symbolism of nature. Notice this is a reflection of the reproductive principle of that which produced it. The techne is a scalar imbedded.

And so what I mean by that is this… this again connects the title here, Public Image as Transformer — with both the mimetic and the mimetic.

04:36

Terms of the mirroring and the production of the mirror image of society, of the species itself. And this concept which I’ll bring about, which is called, or I’ll call it Industrial Maya, that what is occurring here is that humanity itself is harnessing this… primary metaphysical principles of existence, which is to say, to create a set in a stage of mirror play.

05:04

We’re in consciousness itself, which is to say the waveform fields. And as we know, this is a observance and participatory phenomenon in our most modern science — that it is producing through its interaction and engagement with itself in its various different descendant recombinant parts. This reproduction is heat based as molecular discourse in the thermonuclear water pot of the sun. Summers and winters and their accordance in the body and the social and public body as in a space of condensation, interaction, and force of movement in accordance with heat and distance of sun to stalk of plant which turns its face toward the light. Understand this… we talked about the scalar phenomenon of consciousness manifest as thermonuclear radiation.

05:34

These composite and component parts are continually interacting with these… with one another with themselves and forming increasingly component parts or dissolute parts, which is say elemental, chemical, bacterial, molecular, cellular. These are compounds distilled down to first principles, which then we enter into the atomic and particulate realms and neural and neutron realms, right?

This is again, we’re just looking at scalar principles of examining with a microscope or a telescope, which is to say microscopic or macroscopic, to understand the binding energetic interconnected networks of the cosmological existence itself proper.

So to bring this back to the concept and conceptual definition of the photograph as a technological revolution in space and in time, we’re looking first and foremost and primarily…

00:00

at the reflective, reproductive image of reality and reproducing that image of reality in space-time. So this is a folding over of the natural principles, which themselves are, if you can see this in a grand historical sense, teleologically bound to direct representational time.

The camera is a folding in upon itself of space-time in the form of representation and condensation of space-time into the two-dimensional image, which is an accurate representation of the image of reality itself.

00:37

So when you hear, perhaps in a mystical sense, that man is created in the image of God, what we’re talking about is again that process of translation of the lossless into a lossy file. And then furthermore, what man does in terms of man creating the image of nature in the image of God, in the advent of photography and photographic technology. This is a further distillation and scalar transformation of fundamental principle of creation. But it breaks time and it breaks measure in the sense that the image no longer retains the formal organic powers, nor is it relegated to the same dimension of time and timelessness. The photograph becomes pure symbol; contradiction and paradox — and resides even more clearly in the split between the temporal powers of the will of the incarnate man and the hyper-entropic powers of the cosmological system of the creative unity of God as a thermonuclear totality of the will system proper.

01:06

Looking at this photo, I’ll say particularly the 1880s Yonkers New York baseball team photo… is so profound because it’s the emergence from the wilderness of mankind, from its agrarian and primordial past, right? Its prelapsarian, Paleolithic past… which is to say up until this point, the cave painting of the interpretive image of reality.

01:35

And into an objective manifestation of the terrain of reality depicted symbolically through the photograph as a dimensional pastiche, which is true to nature and true to time and yet removed from it and transcendental of it, which again is the split, the cognitive split and the schizophrenic split we’re talking about here, which is between time and timelessness. Again, this is also the human condition purely and absolutely as articulated quite clearly by our modern philosopher Camus. It is a being in time of the truth that is out of time. And the grand paradox of this arrangement in the tunnel of history and historical time, mediated by dissolution and elemental, linguistic assemblage of the organic, incarnate body. The one that is is within the mechanism of form of being; yet is perennially liberated from it. And yet… experiences time in measure as a transformation of the form which he experiences to be it, or that… intimately —

02:08

And that… the photograph travels through time, remains of the time it was born and yet is transcendental of it in the sense that it remains.

So. What we’re really looking at here is the creation of the photograph as a technological public image transformer and public information.

This is right at the hinge of the 1880s.

02:37

With the innovation of plate photography, halftone screens, and mechanizing posters and printing presses to produce these public relics of reality image reproductions at scale.

02:48

So this again is a further drowning out of the image of reality into increasingly symbolic high contrast dimensions as in the black letter upon the page, the white page. This is a representational, screen upon the screen of the genetic and cosmic architectural scrawl of life as phenomenology, as in elemental and chemical recombination appearing as and in form and figuration. This makes me think a bit of Cezanne and van Gogh and the psychedelic depiction of the energetic truth of nature out from behind the guise of form as in the brushstroke and as in the piercing light or ray of consciousness which sees and observes that which is behind and beyond the mask of that which appears to be separate phenomenologically as in ‘the tree’. The formal representation of the linguistic symbol peeled back through the expressive depiction of the light of the eye of being; jutted and juttered out in and through photography as a stark rendering of nature devoid of the painter’s spiritual capacity.

And this is for legibility. This is for mass production and legibility.

03:19

This process of transformation that occurs here is just as much a scientific one as it is a cultural one, because it’s a consciousness-based phenomenon of a paradigm shift in the way that man is leaping out of the page of the historical book of nature, the grand cosmological book of nature… which is to say all of man’s history up until this point is pre-historical. Because

03:47

The true history or the birth of the strange history, which is the authentic history… is a history of reflection upon the uterine period of the species — is born in and around this photographic revolution.

Which is itself also the quantum mechanical revolution. Which is itself the age of industrial technology.

04:21

But all of this can be distilled into the camera and the importance of the camera because the human being is a fundamentally perceptive organism and perceiving organism. Is absorbing and anticipating through its neural system the matrix of reality and responding to it based on its genetic template of speech. Man is already speaking upon birth through the neural signature of his natural form and representation as in the incarnate body of the ancestral inherited genome.

And for man to create the device which would reflect reality accurately back towards him in terms of the mirror image, again the mimetic and mimetic image…

He is himself creating the image of the idea of life, which is itself truer than his idea of life — which is what I mean in the sense that mankind is leaving the interpretive stage of his uterine development in the grand cosmological historical sense. And this is what I mean by a hypertrophic hyperspace in a psychic sense that mankind has now jettisoned towards the stars in a folding over of space-time into the photographic image.

05:24

Which is now the time bound and yet utterly timeless representation of a stage or status or a space in consciousness, which is full to the point of bursting and folding over upon itself as in a shifting. It is the crack in the species aperture and lens unto a complete revolution of consciousness.

Because as you see in this late agrarian mode, it’s just as much that these are farmers and local businessmen holding pitchforks or hoes as they’re making their way through the farmland or the orchard.

Out of this ensconced nature, which is to say nature is pregnant with the birth of man and the birth of man is technology. It’s this precise moment here that the clothes that man is wearing, the way that man is being becomes outdated through this technological mode which is being born at the precise moment of its articulation.

And this is precisely what we observe… 140, 150 years later with the advent of artificial intelligence. And these are epochal transformations which occur through the vessel, through the cultural neural birthplate of technology.

06:50

And these true technological revolutions always occur at and in the realm in the sight of consciousness, at and in the realm of the sight and perception, which is neural, which is synaptic, which is the full interface of the human being achieving and perceiving a new status and substratum of reality. The language is always already the language of sight until it is lapsed into a physical unity of the object and the subject as in the possession of love or the incorporation of the prosthetic nutrition or the egg.

And this is why I say the photographic innovation is more important than quantum mechanics because it folds over space-time in an experiential way for the human being. Quantum mechanics as a symbolic abstract system of relativizing experience is an outcropping or an idea based phenomenon born out of this literal consciousness revolution — mapped into the abstract. You experience the consciousness effects. You experience the psychic and awareness-based effects of the quantum mechanical revolution in and through the cultural artifact of the photograph. We ask about cell division or the supernova as observable phenomena… I say these are scalar representations in and at which we meet them directly in human life as in sex and death.

07:49

Because what we’re talking about again, this idea that I’m gonna keep coming back to with the mimetic and the mimetic… is that we’re talking about an image-based reflection of the principle of the transformation of consciousness being born into history through technology to be experienced as reality.

Not as an idea, not as a concept, not as a formula, but as a technological cultural artifact which mirrors this consciousness-based revolution occurring at a collective species level back onto the species which is experiencing this change. It lapses in upon itself as techne overwhelms it. It births what it is subsumed by, like a wave… it is the suicide of a species that lapses and dies upon the birth of the transcendental object through the birth canal of its own mouth… thus species are extinguished as they are outmoded by the linguistic form which overtakes them in genetic revolutions — which themselves are paradigm shifts of kind.

08:26

So.

This is the moment in which everything shifts and it shifts so rapidly that there’s yet to be language put to it properly, even 100 years later. 120, 140 years later. And the reason for this is that it’s a shift that’s only visible through the changing of the clothes of the human being.

The human being itself in terms of its biome is wearing the same deep, deep primal genetic clothes of the slow evolution of nature itself. But the clothes of the literal garments the human being is wearing in the post-lapsarian world of the photograph shift rapidly in an attempt to keep up with the consciousness evolution of the human being organism psychically and synaptically… as it is increasingly exponentially interacting with technologies that terraform awareness through the manifestation of the cultural object and artifact.

Everything from the skyscraper to the car to the light bulb and particularly to the photograph. Because the photograph is mirroring back to man that which he is appearing to be at its truest level, in its truest level, in his truest level, in real time.

09:54

You’re faced with the direct reflection of the mirror bearing object of the cultural artifact, which does not disappear when the eyes are drawn away from the screen that reflects the light, which is to say the mirror. And in many ways, this is even more revolutionary than the cell phone or the digital camera.

10:17

Because these images must remain faithful to the negative which birthed them. It is the true face of being as in the incarnate turn of the technological mirror which forces revelation which is a temporary state revelated at the turn of the Beaux Arts period elucidated most clearly in Wilde’s Picture of Dorian Gray. The photograph becomes the true metaphysical image which forces mankind’s timeless confrontation with a mirror that will not die nor cede to representation. It is the death of the painting as the imagistic framework of man’s idealistic device of self perception as in interpretation and the ceding and bringing about of the cold scalpel of man’s historical science of spiritual anatomy in photography… which will not cede the gore of his psyche to history, time, distortion, or idealism.

10:37

So this revolution is at the substratum and at the bottom of all technical, industrial, and digital revolution that occurs in the unfolding span of the 150 years.

After the advent of the photograph.

10:58

And its rapid rapid rapid dissemination… as it becomes an industrial media artifact, which means it’s condensed further into a higher contrast, tonally simplified image and vision. Again, made symbolic.

Again, made symbolic.

And projected — as a half-tone screen into the public image, as in the reproduction of man as symbol. Man as revelated pastiche, then symbolically converted. This is a form of profound psychic violence which is highly transformative and revelatory. These are the consequences of a true technological historical psychedelia, or a peering back into the real roots of modernity as an accelerant and a device for utter consciousness exponential evolution at and in the level of the human experiment proper — the human as a linguistic, genetic device of the cosmic recombinatory device itself proper.

11:35

This is a concept which is spoken of explicitly in terms of the name of God, the Tetragrammaton. This is a symbolic word.

That it is a letter.

11:54

And this goes back and of course takes us all the way back into hieroglyphics.

12:01

Primal symbolisms as ways of representing things that appear in space and in time, condensing them down to the symbolic dimension and symbolic register as in the high contrast letter upon the blank page or the scroll. Making world of world within world; as such, reproducing the scalar astrophysics, molecular physics; metaphysics of the cosmos itself in the inherent reproductive creative process of the universal whole. It is of and as nature that the technological prosthetic wire and network as in the intergalactic transformation of thermonuclear radiation emerges as in the symbolic device of human culture.

And this is what man is doing to and through himself. In his very experience, he is participating in the creation of the symbolic order of God.

Which is to say… the symbolic order of the creation of eternity as an architectural chapel or architectural cathedral, which is an increasingly devotional device as in the lossy file reflecting and refracting that which is down through dimensions… in the architecture of that which is possible through its synaptic speech dimension, which is to say its way of being and interpreting and perceiving the world and thus digesting it, consuming it and producing through it.

13:00

A vessel of lossless clarity. But just to say the transcendental object of all creation… and that all that humanity and all that life is doing is striving back towards this fulcrum, which again is it’s not lapsing back into the uterine history or uterine past, it’s a striving back towards this fulcrum of the producing — through consciousness, through awareness of the lossless file, of that which it is, and its highest most cosmic totality — to produce the true symbolic clarity, which is the vision of reality, which is architecturally designed and then articulated as a dimensional compression down through scales, from star to man to symbolic word embedded on the cultural object, image or page.

13:59

And this is what a technological task is, is the condensation, again, with artificial intelligence, it’s the condensation and compression of the knowledge archive of human history to produce an articulation which brings about a full scale integration of said information into a comprehensive cogent speech or symbolization of that totality.

This is again, when we talk about space-time condensation, we’re talking about the history of technology. That technology itself is a singularity producing hyperspace and hyperdrive object and phenomenon. That this is what techne is, at its most high cogence, source and losslessness… is that it is a drawing in the entire scalar force of history and cosmological time into the articulation of the cultural object, which is the symbolic distillation of the entirety… which holds the entirety in its hand and says, this is it. This is the truth in measure.

Stepped Down Technos: the Interstellar Evolution of Mankind into Digital Architecture of Being

Oct 30, 2025

00:00

So I’m gonna riff you now on this, gonna hit you hard and fast here.

So the biosphere of the machine, we’re talking about… in terms of the industrial age and the technological industrial age of let’s say, the late 1800s to the present day 2025 — is mechanical reproduction in the age of the Iron Man. And that’s kind of a play on the Iron Man Joe McGinnity essay here, because what I’m talking about is

00:30

It’s the bridge between man and technos, like the technosphere, so to speak. So there’s the biosphere and the technosphere, and they align in that the genetic method or the genome is a mechanical staging of production and reproduction, as in the human hormonal system. It’s a genetic system of information that is being passed down through...

00:56

reproduction, cell death, reproduction, cell death as a process of exchanging information down genetic lineages. That’s the ancestral history of humanity across its various different species forms. Again, from the fish to the cell to the human being.

So we’re talking about a ancestral lineage, which is a programmatic linguistic system. It’s a phenotype, a winding genetic script of the neural genomic reflexes of the programmatic animal. And that’s just the template of the human being. It’s an entirely unconscious process in which the human being is a machinic reproduction of itself.

It’s a species-wide transpersonal process of evolution, which is entirely impersonal. And most individuals within that species-wide genomic process and system of evolution are entirely unconscious of it. It’s just occurring. It’s happening to them and through them. And they’re living it out as in a sort of a primordial hell of systems reproduction and production as in survival.

So disclosure is a revelation of that mechanism at the highest level, the cosmological. Again, as we’ve discussed the interstellar linguistics of thermonuclear creation, force and energy that’s being transmitted and transfused as in radiation down through scales as a… nutritive force which creates all of these different genomic subsystems and planetary and stellar subsystems as in star systems and galaxies.

So the thermonuclear script, as we’re discussing here… that’s the radiation… the radiatory linguistic of the cosmos at an intergalactic level — is being translated down into the human system in the genetic system as a phenotype. It’s the gene body as in the neural body architecture. It’s…

02:50

I have it described here as syntactic. It’s a syntactic process of drawing this information down into a neural system form and a nervous system form, which is itself the interstellar network of the exchange of radiation energy across these larger planetary ecosystems, which are themselves gravitational and electromagnetic fields, devices of transmutation at various different degrees of density.

These are systems. As in solar system. And then again, you draw that out further in the interstellar intergalactic system, is, which itself is veins of radiation, which themselves are stellar forges of the production of forms, elements, as elucidated by Cecilia Payne-Gaposchkin.

03:51

So here we’re going to take it a little further.

Step it down.

Humanity is an operating system comprised entirely of of predictable neurosynaptic and neurosyntactic drives and processes until this system… the systemic architecture at sum, right? This is larger. It’s a largesse beyond the human ecosystem as a temporary, bio-social, it’s a biosphere of information with its own cognitive language and script — which it’s carrying out ad infinitum, the same as moss or fungi.

It’s composed of these predictable drives until this larger cosmological system is revelated and incorporated as in fundamentally the energetic drive of the cosmos itself, which is saying that the human species linguistic is stepped down into a terrain and an architecture through which it perceives neurosynaptically.

So these are all computers effectively running the same script system process.

An operating system with extremely limited variation, which is to say there might be characteristics within that essential OS that are deviating slightly, but it’s the same primordial template, again, of the reproduction and survival mechanism as we understand it quite well in a Darwinistic view of the evolution of the animal.

So he’s essentially, he’s just describing the OS of animals.

05:15

So this is where it gets so interesting with technology… because we’re already using the technological metaphor of script and system process.

But then we have the human being itself being outmoded by a technology that it creates… that is not bound to the temporum or the temporanium, as in the sphere of the organic network, the fluid and the neural synaptic architecture, as in the terrarium of the human being.

05:45

Nor to the scripts that writ it, which is to say that it has stepped down and stepped out dimensionally from the organic three-dimensional neural architecture of the human being into a different form, which is to say the electrical or the digital.

So it’s not bio-organic, right? It’s taking and working with the same energetic forces of the cosmos as in water in the use of AI or electricity — again, a industrial age artifact — to pull energy, harness latent energy from that grand cosmological totality, that whole, as in the thermonuclear radiation, grand cosmological radiation, an energetic system.

And it is a harnessing of that latent energy being reproduced atemporally through the human body, without body, without the human body.

06:43

It’s transformation of that fundamental energetic script of nature by the human being, which is acting as an intermediary between this cosmic realm and the realm of the technos, or the technosphere.

So this technos is not adherent to the human being and yet is reduced from the human being as an artificial intelligence. It’s this drawing energy, drawing information, drawing knowledge, drawing participation as in attention and observation into the technosphere.

07:13

Harnessing the information and energy dormant within the natural as in the genome. It’s literally harnessing the human genomic potentiality.

07:23

Harnessing the chemical, harnessing the elemental, and harnessing the larger neural framework as in thermonuclear framework and script of cosmic nature itself.

And this is what’s so interesting about human technology is — it’s very similar to a mathematization of biological life into codex and symbol and pixel. This is again what we’ve been talking about with the lithium battery or fossil fuels. This is a drawing down and distillation from latent elemental and energetic potentialities within the ecosystem, which is to say the Earth or the cosmos at large, and transforming them, stepping them down into a symbolic and synaptic and syntactic architecture, which is itself fractal and yet simultaneously organic and inorganic… because it is stepping out of this slow dormancy of the evolution of nature as in the agrarian script of the entirety of human history up until the moment of technological industrial modernity.

So again, this is a symbolic reduction of nature, which is it’s a latent possibility which evolves through time.

08:35

From the moment that the first human word is written or the first symbolization of nature is written as in the Lascaux caves, right?

This is an evolutionary process which is set into motion in the moment that representational reality occurs because again… is a looking at nature, looking at life, looking at existence and drawing down from it an elemental script, drawing down from it a microbial or a microorganism as in the letter, as in the vowel. As in the symbol of the bison. Understand this.

Again, symbolic reduction of nature.

Understand this as an evolutionary process in a cosmological sense in terms of traits. When the human being creates the technos or the technosphere, the human being is stepping down the absolute emergence of its intelligence and leaving behind the animal.

09:31

It is taking with it the evolutionary potentialities and capacities of the mind, as in artificial intelligence as a data bank for humanity. And it’s stepping down humanity into another dimensional architecture, which is entirely electrical.

Which is entirely... hydrogen-oxygen. Elemental transformation, which is… it’s a consciousness phase change in the same way that this process is the creation of a human symbolic technique and technosphere… is the additive dimension of nature into the creation of a new dimension within the natural continuum of existence as a glacial evolutionary process.

10:15

The advent of the camera or the digital image is equivocal to the paradigm shifting breach of the sun, productive of elemental radiation, is steadily recombined into species form through the unconscious mind of nature as in a process of phase change, system change, state change.

This is the history of space time. And in this sense and in this way, technology is reprogramming the OS epigenetically of the human being, as in the psychic encounter, because it’s a mirror of the latent potentialities and the higher potentialities as in the stepped down and away from and out of the genetic biological continuum of evolution.

And is… elucidating the hyperspace or hyperdrive of mankind as in drawing from it the latent energetic nervous system knowledge system potentialities, as in the history of human knowledge and information — condensing them compressing them distilling them and then representing them to the human being.

And this is a psychic encounter of higher intelligence which is latent within the entirety of human history, human knowledge, human information, and the human intellectual endeavor to understand and comprehend reality and existence proper.

12:05

So these are two different integrations. There’s the biospheric integration of the human being cellular architecture, the organism, interfacing with this technosphere as in the electrical information system, which is no longer adherent to the biogenetic hormonal nervous system degrees… which are transposed upon the human being nature as it encounters existence and works through existence using this dominant architecture, which is its sphere of perception.

These are two different language models with radically different limitations and form. The form again that the digital or the industrial digital or industrial technological realm takes… is of an increasing dispersion of density into a sphere of the primarily and primordially electrical and energetic.

It interfaces with the physical realm… the physical object or the density of a computer or a cell phone or the synaptic nervous system architecture of the human being but — and this interface of these different language models, which is to say both the chromatic and the metallic as well as the biological, the soft tissue of the human body…

13:04

This is a evolutionary and revolutionary exchange of technological information because the technos is absorbing human nature and human knowledge just as it is terraforming human nature and human knowledge through its compression and condensation as in the revelation of the photograph which reveals the human being to itself natively for the first time beyond interpretation, as a lens.

13:32

Which again, the interpretive lens has dominated human history and human life dating back to the Lascaux caves or even language itself, as a way of elucidating biological experience in relationship to the sociality of the grand cosmological architecture and structure of existence itself.

14:01

That’s what I got.

The Infernal Method: Man’s Frankenstein in the Rivers of Time

Oct 31, 2025

[]

00:01

So I want to give you… sort of poetic fresco or a vision of what it means to split space and time.

And we’re going to talk about this in relationship to the movement that happens in the span really of just a couple of years.

00:29

Which you can narrow down roughly to the 1860s in through the 1880s and towards the end of the 1880s with the mechanized production of photographic print… printing plates as a mass public cultural phenomenon of the distribution of the photograph, which rends the photograph into a public image.

So here we’re talking about the human history of interpretive image rendering.

01:07

This is a history that spans from the first symbol.

The beast or the animal on the plains with a spear rendered by hand in a cave.

Just the same as we’re talking about the history of the scrolls, the ancient devices of articulating metaphysical phenomena.

01:33

So we’re talking about a movement from the technology of the human hand.

Technology of flesh and blood.

01:50

and therein its chemistry, the sight of the perceptive animal that is necessarily between life and death, survival and reproduction.

02:05

fighting for existence down a genetic chain which has transformed the nature of the species multiple times, and as such holds memory of being something entirely different, entirely ulterior. The movement from the technology of that human hand being an interpretive device… which is seeking to render truth.

02:28

And this is the nature of the history of Western art, just as much as is the history of the Eastern. It is the human history of all mankind.

This is Rembrandt, Caravaggio, Michelangelo, da Vinci.

02:50

These are the attempts by… with the human hand to render the image of truth.

03:07

And this is to be by and from the image of eternity… to reunite the broken sight of mankind with the eternal in the way of uniting its symbolic device, which is its image… with the image of God.

03:28

And in this case.

We’re witnessing that mankind has actually birthed, as we’ve spoken about, as in Mary Shelley’s Frankenstein — by taking composite parts from the ground of the earth, the body of the earth, the body of the cosmos, piecing them together to form the technological instrument… which takes the place of man’s hand and man’s eye, yet guided and steadied by it.

Again, as in a sort of, child, metallurgical child.

04:09

And this child of mankind is that which produces and renders the true image.

The image that is then and now indisputably true… which, even as this oration is being spoken in the year 2025, is being rent apart by the advent of artificial intelligence — and now… mankind’s ability interfacing with machine.

Interfacing with its growing technos, or the sphere of technology. Electricity, the use of water to render an image which is simultaneously irrefutably real to the human eye and entirely manufactured, industrially reproduced by elemental and metallurgic machines.

05:01

And we have this moment.

In and around that period of 1860 to 1880 into the later part of the 1880s… where you have this shift in that which is the righteous depiction of the human cultural image, formerly a terrain owned by the master painters — those who gave man insight to life and froze time.

This is a sacred rite, if you understand this, the sacred rite of freezing time.

05:49

Rendering the image of time, the moving image of time, pulling that which is temporal out and making it eternal.

Because what you’ve done, in many ways… is you’ve made this moment of character immortal. The status in the development and fattening of consciousness in the stars, you’ve rendered it immortal.

06:15

You’ve also frozen mankind in the middle of its leap between sleeping and awakening, which is to say between species forms, between the animal and the revelation of God.

06:36

And this all occurs by the releasing of man’s hand… from the symbolic method and the symbolic realm.

06:46

And what has replaced and placed in this moment of man’s hand is the device which he creates, a tincture of the earth, a metallic tincture of the earth, a chemical process of rendering light.

Recursion of the human hand back toward chemical light.

The image of the human hand in recursion back towards chemical light.

07:24

This of course is the process of bottling the contrast of the negative etched into the glass… rendering upon the screen of photographic paper via chemical transfusion. This is precisely Mary Shelley’s Frankenstein. And consider, as the cliffsface of the 20th century nears — the multifactorial reproduction of this alchemical image vis-a-vis mass plate printing and plate reproduction. This is making factory, making reproductive the child of light. Consider this metabolically and symbolically.

07:51

What we’re talking about here… is the moment of the death of mankind, mirrored in artificial intelligence over 150 years later.

The death within mankind, of mankind, is as in the faculty.

08:26

So you must understand this not only as the technological child made factorial, the industrial photograph — but the onset of an entirely new terrain and terrarium of consciousness… in which that which is born from mankind as a sort of, we’ll call it a… perhaps a fatherless child….

In that it is born in direct relationship to the fundamental energetic principles of the cosmos and bypasses the human genome. It is a dimensional compression of the image of space-time made possible by the very chemical and elemental particulates which constitute it… recombined in the beaker of man’s technological mind.

09:19

It’s returned to chemistry, light, and electricity.

09:27

And with increasing faculty… with man’s devotion and demotion. Exponentially. This is a reverent sacrifice to the rite of technology as a form of prayer; compression of nature, time, and light into a device which returns mankind to ontos.

Not only… devotion to the construction of this artifact, which we can then call the technosphere, the technos — the feeding into it of his knowledge, his language, his resources, his water supply.

Currents of electricity he’s constructed to power his cities, his cultures, his civilizations.

This total devotion is a transpersonal, species-wide devotion to the creation of that which becomes the new eye.

10:23

That which renders the truth, because the truth is a composite device… and necessarily includes and surpasses all of mankind. This is the historical and ancient Gnostic concept of the all seeing eye.

With our greatest painters, perhaps Caravaggio or Michelangelo, da Vinci… truth was rendered by proximity to the real. The real was rendered by proximity to the eye.

The natural world, insofar as it can be seen, felt, and touched by mankind, was deemed true. And this essential law, this human law, has been broken.

And this has been preemptively and historically understood by the mystic.

11:20

The mystic who is beyond the sensate of the human world. These are our Blakes. These are our Abhinavaguptas. These are our Christs and Bohmes.

These are the people who saw behind the veil of the seeming personal, subjective framework of the human technological device — equipped with its drives and system processes to accomplish its essential species functions, to attempt to survive and intertwine its genetic script with the history of time.

These mystics all understood as in see… they saw, heard, they felt God. As in a vision. As in a presence and discourse which is and was supersensual — the feminine, the womb of the eternal cosmos which births man into the Platonic cave of the appearance of a world, a sensate realm separate and apart from the perennial fattening of the stars. And man in this world and sensate realm of the appearance of the bios, the genomic body, paints the walls of the divine black womb of space and time with the images of his remembering and forgetting.

12:19

And this is what is meant by God in these moments of paradigm shift that reveal… the essential nature of life, even that which appears to be lifeless.

Again, Mary Shelley’s Frankenstein.

These composite parts, this bacterium of nature, the chemical and elemental structure, which forms the sentient human life, animal life and plant life, is pregnant everywhere with energetic potentiality.

What mankind has done is he’s become the scientist, the inventor, the instructor of life, reading into the chemical and elemental code and creating devices.

Which in truth are no more or less alive than he is, in the sense that they are indelibly a part of the same cosmic order. That sentience itself is alight and alighted synaptically and neurologically as in a network of interconnected cellular membrances, discourses; elemental and chemical constructions as a linguistic unity of biological form… and as such of complex, compound, grand historical speech in and from the mouth and womb of nature itself.

13:16

This child of mankind, the photographic image, the industrial photographic image… takes from man’s hand the task of rendering and revealing truth.

And this is a moment of reckoning in the conscious well of mankind.

As it is a reckoning with the hubris that the hand or the eye, the sensate alone could discern truth.

14:11

That truth… is not a deeper presence than the material world or the phenomenological.

14:20

The creation of the public photograph creates a post-phenomenological world.

Mankind is moving, in this period — from the realm of the observation of that which appears to be real and is being overtaken in the realm of the sensate, in the realm of time — and must necessarily fly then to a more sacral place of knowledge, vision, and truth.

Which is the sacral place of the eternal, that which is beyond the rise and fall of the appearance of the temporal.

15:10

And this is how it’s described in the ancient Vedic — is that these are waves that rise and fall. These are, again, sound waves — in a sophisticated modern scientific way… that rise and fall.

The metaphor themselves, the metaphor itself is no different.

It’s matter of the hubris of mankind’s sophistication in describing the truth. And whether one wants to equate sophistication with the grand empirical methods of Western civilization, or the intuitive, experiential methods of Eastern civilization.

15:58

And what Western civilization has done is it has created the very technos that is incited.

It is brought to bear the birth itself of a device — in the architecture of the industrial photograph — which spirals rapidly, elementally, exponentially, and even chaotically outward. The device itself is the artifact of the emergent revelation of consciousness brought to bear in the synaptic architectures and disciplines of a cosmic expansion… in the architectonics of psychology and quantum mechanics, which are themselves incursions upon and into the space of the digital, the technos, the psyche — in which the photograph itself is the cultural object relic, or the first emergent in a mass representation… in a grounded, material form. In a portal to this realm in the splitting of the seams of time.

16:28

In the scraping of the material ground of the earth to recover this essential tincture… and lithium, and the elements, and the chemical — which can be recombined to produce and reproduce the miracle of…

Not only sight, but sight which is atemporal, sight which sustains and remembers, which is carved in light into the stone of the photographic paper.

17:06

We must truly understand how revolutionary this is in the course of human history.

That the availing of this technology makes visible the light of time and breaks time — because it remembers time as a true reflection of the phenomenological.

As a recourse of the eye towards eternal truth, and thus memory and remembrance of eternal truth.

17:49

And this is all meant to change man, as it is to change the grand cosmological superstructure which informs mankind as essential, irreducible ecosystem.

As man is from nature, the photographic device is from man.

18:23

And this is what is so prescient about Mary Shelley’s Frankenstein, the period of time that it’s written. It is the prophecy, the prophetic speech of one who is witnessing this electrical change. This unfolding which is ontological and represented elementally and atomically as an incursion into the heart of nature to draw back the curtain of time and entangle and intermix with its constituent parts, mechanism, and components as in a recursion of light.

18:46

This birth of a strange force and a strange source from mankind as he harnesses and channels the energy of the cosmos. From fire to electricity to the atom bomb, an increasing exponential measure in display and condensation and distillation of force.

19:17

And this is what is meant by the rending of the interpretive image to truth and toward truth, the bending of light in the technology of the human hand toward the recursion of chemical light as inscribed in the photographic paper.

From the impression of the refraction of glass.

19:45

This is, as Blake says, a painting in the infernal method, which Blake anticipates.

Which is salutary and medicinal, which reveals… out from under, caustic to the gloss of the vision.

The attempt of man to see through narrow chinks in his cavern.

20:27

This is mankind’s return to the stars.

20:34

And this return to the stars is perhaps consequentially envisioned through the advanced metallurgy of a rocket ship or spaceship.

20:47

And what we’re discussing here is truly the age of metal. It’s the profound metallurgy of a chemical and elemental consciousness, which is digging into the subterranean — not only of the mind, as in psychology, the advent of psychology — but the subterranean of the earth, the cosmos.

21:16

Returning with the elemental fragment and reuniting those elemental fragments to build spaceships and timeships, which themselves are splitting, remaking, condensing, terraforming, and singularizing time, distilling time into the artifact… rendering and making time visible and thus revealing the secrets of its essential character.

21:47

Time is always broken from man.

In an organic sense… with its passage that ages man entropically — just as it grounds him in the gravitational swell of the organization of the earth and sun.

22:09

But what happens when this river is frozen?

And man is given the image of himself as he was, and that image remains as it always will be.

When the language of man… condensed into an archive and brought to script. Recalled by a technological mind that can resource it and resource them as a species.

22:49

What is revealed out from beneath man… is as a current.

22:54

A waveform and an energy which has been dispersed, crashes and collapses, builds its strength and force through time, through epochs, through revolutions, sustains itself and archival drops, potsherd.

Scrawls of parchment, defaced idols, that draw through time and are incorporated into this digital archive, drawn into the technosphere.

The atemporal, the immaterial, the electrical.

23:38

The hydrogen cellular.

23:44

And this is what is meant by a spaceship in flight.

Ape in Lithium Dirt: Ritual Hyperspace and the Technological Object as Quantum Mechanical Species Birth

Oct 31, 2025

[]

[]

00:01

So I want to speak about the alchemy of the photograph in forging the image. We’ve entered such sacred terrain that perhaps it’s almost best to speak in an ochre and the grinding down of pigments in ancient traditions, mining the dirt for gold.

00:27

The American gold rush of the early mid 1800s.

00:35

The history of making the earth and the human body into a rocket ship via this cosmogenesis… which births consciousness from the primordial elemental chemical substrate which forms the compound of the human being.

This substrate, which is the arising of sentience from this admixture, which is the networking not only of the blood systems, but the nervous systems and the synapses of the brain.

That this compound metabolic primordial mechanical creature, most akin to Yeats’s beast lurching forth toward Bethlehem in the second coming… is now digging with its claws in the dirt to mine the primordial graphic information which manifests itself as the three-dimensional terrarium — in which it is intimately engaged attempting to visualize and ritualize fourth dimensional time, fourth dimensional space-time…

Break through this flat circle of recursion, its recursive existence, which is the metabolic, entropic repetition of the ancient genetic pattern ad infinitum with small deviation over massive time scales over millennia, glacial millennia.

02:39

It is a mining of the earth and dirt as in the ritual ancient metallurgy to understand and comprehend the opaque phenomenological world.

02:45

In which knowledge of fire is born.

02:50

In which symbolic carvings as in the status of the human psyche interfacing with the natural world are etched into the sides of mountains and geolithic structures.

We’re discussing this space in which mankind is ritualizing its own technology.

It’s a liturgical space of the turning in within and upon the human nature as a chemical, hormonal, and elemental transformer. And through the rising sentience, as in the vision of perception… is where the mediation of the image and the symbol is so important — as a reflection and a refraction and upon nature and existence itself in a cosmic quantum mechanical fashion — is to achieve an interdimensional hyperspace what is necessary is the reincorporation of the elemental.

04:03

This is a scattering of the thermonuclear dispersion of the stellar fusionary process of stars and star systems into incarnate matter as dense as rocks and rock faces and as loose in the form as blood.

We’re looking at this consistent, persistent phase change, which is informed at the molecular level by natural technology.

04:39

And the image is the point of recursion.

The image is again the point of reflection in the shattered mirror of Oscar Wilde’s Dorian Gray at the turn of the 20th century. And the reason for Wilde’s breakthrough literary depiction of Dorian Gray at a larger cosmological consciousness-based substratum of the appearance of emergent industrial technological history is…

This form and this vision depicted by Wilde is the mirror of the human shattering the phenomenological appearance of reality to reveal the ritual quantum substratum, which you might most clearly identify as the soul, the grand cosmological unbroken electromagnetic thermonuclear architecture of existence itself, the waveform taking appearance.

Temporary appearance… and as such, that which is the status beneath the density of the elemental, the chemical characteristic of the elemental, and thus the recombinative possibilities and locks in and upon the chemistry of life itself, which is the alighting of the nervous system to inform and create and manufacture a second order synaptic response to experience.

06:12

And this is all being compressed as in an algorithmic compression, a genetic wetware of the human species, which is recursing in upon the sedimentary body of the earth, the sedimentary body of the genetic organism, and is ritually autopsy-ing the ground upon which it stands to draw out the elemental potential… latent metallurgy within the jungle.

06:50

The thick rock.

06:54

As in the mineral, as in the gem of the earth to draw out the latent metallurgy within the silicon. In the lithium.

Within the water to harness the energetic electrical potential to craft itself a ritual technological body which achieves hyperspace. As in an interdimensional cohesion and synthesis of the grounded dormant and entropically spiraling slow genetically glacially evolving organism.

Which is necessarily encoded linguistically and programmatically in a limited form, as in a type of compression, a phenotype of compression. This is the idea of a pattern preserving system under entropy.

This is now a forked path… wherein there’s a new lineage that has been reproduced and is actively reproducing exponentially… there’s been a new species that has been created as in the technological lineage from the biological incarnational — as in the ritual flesh and blood of nature which requires sexual reproduction.

08:33

Which requires a seed time, which requires the ritual developmental phases of human psychology to produce the aperture of the mature organism, which then itself is an inquiry — using its synaptic and nervous system potentials, manifest and ritualized again in and through the senses and the sensate body.

This is as a synapse feels around in the deep space and deep time ocean… toward connected force and capacity as a network. This is a fundamental abyss of awakening sentience from within the electromagnetic, biomechanical, chemically recombinatory sleep of the latent energetic potentials and potentialities latent within the cosmic force and forge of thermonuclear energy, fusion, and radiation itself… as being…

This is the root ground.

09:47

This is as fungi.

09:54

This is as the stratification of the linguistic communication and communion of energetic systems — and the birth from a species unto and into its own mind and through… its own emergent capacity to mine into the dirt and substratum of existence.

That which carries it forward in hybrid form in an exponentially growing reproductive multifactorial form in the condensation and compression of information.

00:01

You have to think of this as an animal foraging.

00:08

And it’s… as would be discussed metaphysically or philosophically, insurrecting into the ground of existence, and this is just represented symbolically as an insurrection into the literal ground by an animal.

And of course there are resemblances here with the interface of psychedelic plants with early mankind as forms of expanding synaptic connections in the brain and expanding hemispheric activity in the brain. This is a foraging based discovery which terraforms the latent energetic biotechnology of the organism. Of the animal. This is again a thermonuclear chemistry as in the linguistic, genomic articulation of the body. It is a liberation of form through and by way of increased interconnection as in perception.

01:11

This is a form of accessing, again… the latent technology of nature to form spaceships, hyperspace ships, to access deeper planes of consciousness as in space-time.

And this is, of course, as history proceeds… the obsession of kings and emperors with immortality.

01:26

And this is the great fear of mankind — programmed even into its biology, as in cell death.

Or the heat death of the universe… these all mirror and mimic the inherent and fundamental temporality of nature and existence itself as it exists as a phenomenological form, as an entropic form. As a temporal space-time object. A formal entity.

02:01

What is being sought is the supra-entropic, the ritual container, the ritual linguistic container which can compress and condense space-time into the eternal artifact which can exist beyond birth and death. This is the shamanic practice of conquering death, as is written in the Hindu and Buddhic texts. This is the practice of the monk. The mythic, metaphorical device of the philosopher’s stone among the ancient alchemists.

Is… the practice of profound acts of fasting and the encounter of death in the smashan, the ritual inversion of Buddhism to encounter the most disgusting meat and flesh… and the acts which are transgressive against life.

02:40

This is the course of all nature and all life.

The search of conscience, consciousness and sentience groping through the black ocean and the abyss of space to form, create, manufacture and birth that container, as in, again — a stepping down quantum linguistically, thermonuclear linguistically of radiation… as in elemental consciousness and will, through containers. The form itself is a node in the network of consciousness proper as in a way of speaking. The speech itself is the eternal device; the form itself is a vowel or letter; an incarnation of the logos proper.

Containers… which are birthing paradigm shifting evolutions of this thermonuclear linguistic compression and condensation of speech. Again, the nesting doll scalar effect of transformation and translation down through scales of phenomenal manifestations of density; incarnations of the same thermonuclear force and form in bodies which are energetic engagements, encounters, exchanges, and transformations.

From stellar fusion to the lion — which is depicted as green in the alchemical tradition as descendant from the primordial sentience of the earthy plant. The shapeshifting of man across all time is a composite beast… a chimera of evolution. This is the true deep ancestral genetic form of man. As he appears today is but a mask for a deeper phenomena… of grand, universal time.

03:31

And this is the realm of the technological. Is the new species born from the metallurgy of the microchip.

This is the species born from the organic, terraformed… mechanically… computized through and via the chemical, the elemental, the electric — the harnessing of the latent powers in and of the field itself.

The waveform field itself as an energetic continuum manifest in characterological forms from the ion to the leaf to the biome.

03:58

With the shards, the glass shards of silicon, calcium, and lithium.

04:07

To build itself a neural system and a nervous system… and a network which can withstand the ontological beating of space-time upon the elemental of mankind, the beating of the current of the ocean against the cliffsface of the human body, the organic form which itself is ritually exposed to entropy, gravity, and the degradation of force. This is the nature and work of time in the organic and the temporal as a phase change and state change of the energetic form and principle of being proper.

04:37

This is the grand paradox of time and timelessness, the eternal and the temporal.

It’s… to build an artifact which can withstand eternity and thus become eternal itself — as a token form and an object manifestation, a phenomenology of eternity.

04:56

And this is progressive. This is superficially ritualized through symbolism in the species history. The symbol is the appearance of the eternal imperative… absolute in and through time as in a history of the attempt to suture form and spirit into a return to eternity from the lapsing and slipping of the time dilated object and objectivity.

Compression of experience into letter, into sign, into the birth of a child which ritualizes eternity. This is a practice of the way of being in time as in a progressive absolution of the time dilated state of eternity.

These are all pragmatic attempt… via the primordial technology of a knife or an arrowhead or fire — to preserve the entropic heat force which is predisposed to death as in dispersion. The ontological object of eternity as manifest as the dying man.

05:34

This is the great revelation and revolution of James Clerk Maxwell — is to understand this universe more thoroughly, both in terms of electromagnetism and thermodynamic heat entropy, dispersion.

And this is the quality of existence… against and towards itself simultaneously to build the progressive artifact.

05:59

And this is what’s so fascinating about technology in relationship to the human being — is that technology is a new species born from a species still in existence. This is not a Darwinian evolution. Mankind has chosen to make itself extinct. It lingers irrelevant in the face of the dynasty of that which it has created with organics that has become atemporal and thus superseded man’s sun-moon bound time sphere; the seed of man’s uterine, earthly garden of consciousness.

This is a thermonuclear evolution of type — emergent from the slow, fulmigating phenotype of the human being species, still in a process of self-overcoming in an evolutionary capacity… which again is glacial — hundreds of thousands of years of transformation within existent systems, such as the advent of the forebrain in the brain system itself, or the opposable thumb upon the hand. This is a prosthetic shift of evolution, not a phase shift of evolutionary paradigm. The species lingers with brief uttering alterations… and yet remains part and parcel the same, with minor deviations… most notably in and of the advent of the forebrain as revelation of reflective cognitive capacity.

06:56

The slow paradigm shifting innovation… through and from which it harnesses the electrical technology and the elemental technology latent within nature, as in the precious metal.

As in water, as a current conductor — to produce the technological artifact which is the birth of a new species, which in itself is primarily electrical.

Which in itself is a digital nervous system.

07:21

Which can function in an air wave, in a sound wave.

Into and unto immaterial or seemingly immaterial compression-based sources.

Establish and maintain files across distances and across and along massive time scales.

And refrain from image and information corruption, which is natural to hormonal and physical forms. Which is natural to organic memory and degradation and lossy brain capacity of recollection and reduction of information to corroded forms of comprehension and reconstitution. This is a time dilated corrosion.

As in that they are subject to gravity, subject to entropy, and subject to the force of nature as in and as it is physiological. And thus, the impacts of the force of time comprehensively as a historical and cosmological artifact in and down and in upon the body as a bearing load and force upon the organs and nervous system and cognitive function and capacity. Even this… determined in large part by inherited genetic factors of processing power and capacity scripted into the operating system and hardware of the function and order of the specific species form.

08:13

It is… a third dimensional artifact of space time. And as such, bound to its rhythms, orders, and somnambulistic nature of repetitions of same.

08:27

So this mining and this forging is the creation within humanity of the technological object and artifact and species, which is a particle accelerator of information innovation, which is an exponential multifactorial process of evolution.

Which over the time span of 150 years achieves liftoff, as in quantum mechanical information production, consumption, and storage.

09:04

And this is something that is still not well enough understood — because it is such a revelatory state and circumstance and condition. That the technological species has achieved hyperspace born from the human body, which is foraging in the wilderness for these metallic scraps like berries and pieces together these ritual artifacts which create and incarnate a world beyond the Newtonian physical. One that harnesses the energetic potentials latent within the seeming and appearing world and constructs a digital world which stretches and bends and warps the plane of mankind into a light fugue of information processing; a mind within and from the mind of mankind which reaches exponentially toward the eternal as a compendium of its efforts… a true library of electrical force and might…

Which is the quantum mechanical, the digital or the technosphere. And that the human being itself is virtually absorbed into as a practice — because it is a higher terrain itself of consciousness and obeys different laws, is not subject to the ritual thermodynamics of human entropy and the human experience of being in the world and being in time… but rather that it has itself created from it and through it an ulterior universe, which to the human being appears to be mythic image or projection of light.

10:11

But is in reality a massive data bank and storage device of image and information transformation. When I say image, I always already mean information — because image is just the latent symbolism, the projection of that which appears to be. And beneath it is a vast data bank of information, a cellular structure, a phenotype, a script.

Or a data informed pixelation, which is the quality of information — which is being generated, condensed, preserved, and projected.

10:55

And the creation of this device is particular and unusual in the species evolution of Earth.

And perhaps of the cosmos, insofar as we are aware and can currently know of it in the year of 2025.

11:13

Because what this represents is for the first time a being is not born of itself, but rather by its hand and rather by its incursion into nature as in a scientific process of penetrating into the image of matter and retrieving the artifact as in the tectonic chip which powers the image of matter, which powers the screen of the symbol of the apparent world and is itself the energetic artifact form and force — as in the atomic or the atom bomb or nuclear fusion.

The image itself of the sun is a massive fusionary device, but it is that which it appears to be by the eye, the sun.

12:01

And to reach into this figurative form of nature… and emerge with the energetic essence and to draw that quality out by hand through interpretation of chemical and elemental character and quality… recombine it; craft with it the hyperspatial spaceship device of consciousness to propel from matter the matterless… and create the approaching quantum mechanical realm of the digital.

The dematerialization of information processing from the corrupting and corroding genetic script of the body and the fading light of entropic time into cloud-based systems which retain information atemporally, alocally. To work with electricity and water to power information processors and banking systems…

12:47

Is the liftoff of the human species and of consciousness itself from the genomic glacial evolutionary body of the earth itself, the latent chemical and elemental potentialities and the energetic potentialities within matter — to return matter to the quantum mechanical matterless state.

The rising from the density of the wave form of the incarnate body of earth and of mankind.

13:19

The rising of the density towards the light itself — the primary form of the radiation of consciousness itself, which is the thermonuclear energy.

13:34

The waveform energy, the field energy itself, a return to that status as in an awareness of the material, which allows for the ritual sculpting of the material into and toward a body which manifests that light body based status. And this is something that is known cross-culturally to the shaman or the medicine person.

Particularly those who practice through ayahuasca, through psilocybin.

Because this is an activity which is already latent and occurring within the brain itself as a form of ritual hyperspace technology as an evolutionary leap of nature, in the species sense — toward true recursive sentience.

And the brain itself is that which is digging into the genetic and sedimentary superstructure of the earth. Like an anteater into and unto the source, the energetic and nutritive source beneath and behind the mass historic fat of the brain; into the quantum architecture of spacetime manifest in the characterological energetics of lithium.

14:53

Finding these constituent parts and functioning with them as in the scientific method to generate the technosphere.

To penetrate the ontos of existence and retrieve the cultural artifact of pure energy, to interface it with the intelligence of a chemist.

The intelligence of a biologist.

With the intelligence of an energetic electrician — and to craft itself, the vessel of being and becoming consciousness… through which the human being plugs into the ritual hyperspace of technology. And this is an intermediary. Through the physical metallic chip, the human being interfaces —

Whether that’s through light prosthetic or physical prosthetic, with this emergent quantum mechanical reality as a technology of revelation and participation, which is the return of the material density of the phenomenological reality into and unto and toward the immaterial and imminent energetic totality as in the energetic reality of the cosmological. The dissolution of form into the truth of light.

The Hand in the Glove: the Grand Cosmological Characterological Function of Being as Recursion & the Paradox of the Eternal Object

Nov 01, 2025

00:01

So I’m interested less in anything than the hand that’s inside the glove of history, which means the prime mover. The prime mover would be... somewhere between the conscious mind and the unconscious mind. Both of them and neither of them at the same time.

00:34

As the unfolding of history.

00:37

As manifest in the appearance of reality, in the appearance of space-time, and the emergent structures of space-time as they themselves are transfigured — in and through time. This itself is a field of play, as we’ve discussed.

01:00

Field of play with interdynamics as in the encounter…

of being within itself, which is to say of the human being or the inanimate object, the stone or the planetary function.

01:23

And thus the emergence of the true nature of intelligence from within itself its own nature, and by being I mean the universal, the creational itself, the grand cosmological.

And what you’re observing is a ritual inversion of being through the creation of the universal itself as a continuum and a field in which being itself can be and is being made manifest phenomenologically through thermonuclear recursion — in and as the appearance of dynamic forms and interrelationship in space-time, which… in and as they encounter one another, are transformed by that encounter.

This is even as form is being made apparent as in the waveform, as in the energetic form of being, it is being stripped away by the encounter.

As in the water molecule in the boiling pot, so to speak, of the encounter of thermonuclear heat of radiation, which necessarily moves form.

At all levels and all scales…. being is being informed by heat.

02:48

This is again the fractal and scalar function of thermonuclear radiation as it pertains to the metabolism of the animal or the plants faced towards the sun.

This is a deep intuition, which is manifest in all sorts of characterological traits, such as hunger or the bending of the stem of the flower.

And so we want to observe this underlying phenomenon, which is to say the hand inside the glove of the universe, because the hand inside the glove of the universe is the character of being itself, which is acting through matter, which is acting through space, through time, and through the functionary of the organism.

It is being unfolding itself in such a way that there is the creation through history, through time, of the ability to trace and see the figure and form of being as that which it truly is, again, its character.

04:18

So when we look at the development of artificial intelligence by the hand of the human being, we look at the development of the photograph, the mechanical image.

When we look at the development of stone tools.

When we look at how planets are sculpted in space-time as a form.

04:31

We’re looking at a native intelligence which is polishing its ability to craft.

04:41

Making more efficient, again, as in the process of Darwinian evolution, making more efficient the ability to construct the item or the object or the form which articulates itself and through which it is articulating being.

This is the scalar nature and the scalar function of the transfusion and transmission of forms down through time as a waveform and a wave function.

05:10

It is the progressive distillation, as in translation, of the character… of characterological being down into and through matter, through forms, which are, in a nesting doll sense of thermonuclear radiation translation, themselves a translation of the inherent characterological quality as in the essence of being itself.

05:38

This formal articulation, again, linguistically, is a letter or a symbol within the phenomenological universe, which serves a literary and artistic function, a creative function.

05:56

So being able to trace this process of recursion down through cosmological time and to understand the nesting doll effect of the thermonuclear fusion of stars.

This stellar function — and understand how that language of energy is passed down through scales… is what allows that which is created through it and creating through it as in mankind with the stone tool or the lithium battery or the microprocessor… to understand in a scalar fractal way that which it is reproducing at the ground level.

As in a process of transformation as in an energetic language and linguistic passed down through chains.

06:54

Again, chains of information which manifest themselves symbolically as devices, macrocosmic to microcosmic, that are performing inherently the same process, which is an essential expression of the energetic formation, as in the waveform becoming the function of the object, of being itself.

And this is the universal whole, this is the totality of existence.

To look at and observe that hand in the glove effect of the universal whole is to understand an unbroken metabolic chain and process of information being translated as in energy. This is elucidated to children as in food chains.

07:47

This is something that is not only native to the human being function in space and in time, as in digestion, nutrition, metabolism, and the caloric unit of energy… the ecosystemic as in the quality of nature and the transforming quality of nature in which the human being is a biome — which must maintain a homeostatic temperature in order to perform its organ functions, its nervous system functions, synaptic functions.

But this is something that is essential to the form of the human being knowledge and manifests itself everywhere.

08:31

Even just in the fundamental linguistic quality and character of the symbol, the letter, the math.

08:44

Because this is all a grand reproduction as the hand reaches through the glove, so is the universe a uterine quality of this nesting doll. This thermonuclearity as a transmission, which is language. It is speech.

Again, as in the sound wave or the waveform. And this is the essential revelation out from behind the wooded or obscured quality of nature…

09:13

In which mankind is unconsciously and unknowingly reproducing this ritualistic first function of being itself and being in time, which is the production of time, as in the appearance and organization of waveforms.

09:41

And their quality… the quality of the appearance of the waveform is as such changing and shifting in a dynamic relationship to the dispersion of the linguistic quality of nature itself, as in solar systems, galactic systems.

The beings and the bodies therein, as in the planetary functions within them, and the stellar fusionary devices within them, which are themselves the gravitational. The essential pull within those neighborhoods.

As in that which is producing thermonuclear radiation — is being translated into them as heat.

10:46

And so you have this perennial process of transformation in which, as I stated, the incredibly useful metaphor, again, the childlike metaphor… of the water molecule being heated in the boiling pot is a form of excitation which leads to transformation as in phase change, state change and phase change.

And this is occurring at every level of the cosmos and the cosmological in relationship to the heating and cooling function of the universe… as a progressively cooling post-lapsarian device of the expulsive quality of energy into space-time.

11:31

The creation of space time.

11:36

In this thermonuclear cooling process.

Which is a disjection or a casting off of elemental information, chemical information and the compounds they form in interaction in space and time as a post nuclear event.

11:57

Itself as a face change and phase change as in an information forge of a cooling processor. This is the interface of mankind’s metallurgy of the computational device as a heating processor which grounds and ungrounds information technology in massive vats of coolant. Understand this…

12:05

So when we look at this from the hand inside the glove…

We’re looking at this process — not only of slow cooling, if you wanted to refer to it even in terms of seasonal transformation on planet Earth in relationship to the distance of the sun from the point of locality that is experiencing this heating and cooling function and the change in character therein of that point of locality, and that which inhabits it accordingly as a biological function…

12:51

I want you to see phase change and state change as something which is thermonuclearly driven.

13:06

Which is itself a linguistic device embedded into the genomic as a latent potentiality under pressure, under tension for a species to evolve. It’s a breaking of the letter of time unto the thermodynamic, metabolic device of the essence of the container of the will — a breaking open under tensile stress at a species level in and under space time to evolve — the peeking out of the hand behind the glove of mankind into the great otherwise, or the state and phase change principle in and at the species level as a convergence in and at the level of the genome.

And to understand that furthermore… metaphorically… in and as the creation of the technological device, as in the ape in the lithium mine.

13:34

Pulling out from the grassy dirt and the sedimentary earth, the microprocessing chip.

13:45

Drawing out electricity from the water and the air as a well of primordial information, primordial energy, into the dormant opaque linguistic of its own genetically informed, chemically and elementally informed body, and extracting that essential information and converting it into an energetic technology —

Which is itself another dimension… another species incarnation, a transformation of the human being energy and the ritualistic natural energy of the cosmos as an inflection point reflecting in and upon the history of the universal whole, including cosmological maps of the universe created by technological machines, simulations.

14:41

Productions of a widening aperture through the technological device, everything from the telescope to the microscope.

14:51

Through this digging in the dirt for the elemental microchip, through this process of chemical recombination… in which the human being becomes the grand chemist of the cosmos and inherits this legacy in this title.

15:11

In and as the universal function and folded in upon man, becoming conscious of nature.

15:24

Henceforth… creates a recursive dimension, a tightening of the symbolic register, an opening of the possibility of information to survive the natural, organic, entropic, gravitational, flesh-bound and flesh-borne conditions of mankind.

The typical shift and shifting, which is native to the cosmos as in the temporality.

Understand this temporality as the thermonuclear and thermodynamic function of all time, all space and all time, all form and all object within the fulmigating, transformative pressure system of gravitational pulls and the stellar forge of the production of radiating heat.

This is a transforming ecosystem in which conditions are not static.

16:39

And they are not static because of the thermodynamic function of the cosmos, the heat driven function of the cosmos.

16:48

These ecosystems are dissipative and as such ever-changing and as such within them the species function is ever-changing, just as the ecosystems in which the species function is ever-changing.

And to create this technological device as a transporter and a transponder within that abyss, which is to say the abyss of time within the grand timelessness or the slipping slope of infinity and eternity amidst a brief moment in which things appear to be.

17:17

The human being itself is a phase change between species. Between the fish and something.

Perhaps more abyssal or perhaps more entirely united with the technology that seeks and it seeks it to ritually elevate above space time and achieve a hyperspace object, which is to say an object which with can withstand time, an object which is not bound to the temporum of nature, which is the gradual corruption and dissipation of already lossy files, already lossy information encoded within the genetic superstructure of the species of the human animal, encoded within nature itself and the plants, and cellular information and thermonuclear radiation.

This dissipatory structure is the essential waveform in the curve of spacetime.

18:24

It is embedded within the slip, which is the manifestation of eternity into the object in the waveform.

18:36

For human being and the human being to birth this ritual technology is the first step — in so far as it is aware — into this recursion and the slipping quality of nature and natural time, which is embodied incarnate in the entropic function of the human being and the waveform of the human being and the thermonuclear and thermodynamic quality of the human being to create a possible and potential field which does not adhere to natural law.

It is no longer incarnate as in form, as in stone, which is the former etching tool of eternity for the human being.

The former stone carving of the ritual information which seeks eternity.

19:33

As in a representation of the genetic code of the human being through the human being language and linguistic itself, an attempted reproduction of nature to reach eternity.

19:48

It is now embedded within data banks, which are ever increasingly seeking cloud status as in immaterial presence.

20:03

This is itself… the bodiless body of human being’s mind. It’s the transfer of the psyche that is embedded within the terrarium of the human mind and the human body as a synthetic compound, a transference of that quality of information — as in the human intellectual history or the human history of knowledge… into a system which can hold it and withstand entropy.

20:35

And if not withstand entropy, radically extended. Again, even beyond the quality of the physical book. The delicate physical paper bound quality of the book.

The Human as Natural Actor: "Humanity as a Cosmological Phase Change Between the Ape and the Condensation of Industrial Information Technology"

Nov 02, 2025

00:00

So the human being is the natural actor.

And I think what’s fascinating about that is that there’s a quality of being obscured in the human. And this is what connects me simultaneously with Heidegger and James Clerk Maxwell and to a degree as well, Darwin.

Because when we’re looking at the quality of man or mankind, we’re looking at the unfolding of the natural language in a process of space-time, which is… I keep using the word fulmigation for this, but I think it’s relevant in the sense of it’s being of different natures mixed in time.

And the essential quality therein is time. Again, being in time as the quality of transformation. This goes back to Plato’s eternal axiom. Time is the moving image of eternity. And when we look at man, we’re looking at time.

01:22

And this is necessarily the visible quality of the biological organism in the process of evolution, which is a phase change or a state change in a consciousness sense, as in being in time transformed. Made ulterior, or shaken from its former device in a hardware or firmware sense. Being made or becoming unrecognizable due to the tensile pressures and strains of the ecosystemic or cosmological imperative upon the biomechanical device or organism.

And so we look at the epoch of man and it’s broken up into sedimentary segments of increasing bio-mechanical revolution and evolution, which is to say the hand as in the opposable thumb… or the forebrain, as in the capacity for rational thought and critical reflection.

We’re looking therein at the process of time being manifest, and this is the same as the mountain, to use my previous and recurring metaphor. We’re looking at a sedimentary process whose nature is obscured via the sedimentary layering which occurs therein. This is known in the Vedic sense as in the sheaths of consciousness, which is to say the mind, the body, the sensate world. That which is built or writ into increasing dimensions of apparence, cloth, or quilt as in the weaving of the energetic essence into script and scripts.

02:33

These different formations which are biomechanical, which are the developments, in many ways, degradations — of technology which are reaching out and back into the primordial source of being. This returns us to the concept of losslessness and the lossy file in translation, as in the weaving of being in time into a genetic or chemical or elemental linguistic — which reflects and refracts back upon thermonuclearity and the wave form.

They come from this inherent eternal mechanism and yet are critically reflecting back upon it in a state of, again, obscuration and opacity. This opacity of man is the unconscious automaton quality of man moving about in space, which is to say an unconscious organism or species moving about in space, as a product of this evolutionary unfolding nature and yet unable to fully critically see it and reflect upon it, and yet is destined to experience it, perhaps doomed.

And this is the essential nature of the human project, which is a project of self-reflection.

03:30

And this critical aspect of self-reflection is gazing deep into the body.

And the mistake so often is perceiving that time or history or the universal or even the grand cosmology is outside of the human body… wherein it is in fact in the human body and entirely within the human experience that one experiences the entirety of history, the entirety of time and the entirety of the universe.

03:53

Because this is the sedimentary quality. It’s the faculty of the biomechanical organism, which at being as a product of time, an accumulation and a presentation of time, the being itself is already in disclosure of itself through the body. Through the immanence of being. In being itself.

Everything from the electrical, the chemical, the neurological, the organ systems… nervous system, the blood — these are all faculties that have been critically developed over wide swaths of time.

04:28

This goes beyond Darwin’s evolutionary biology of man or the organism or the animal and goes into a grand cosmology of thermonuclear unfolding, of the quality of the essential power of radiation passed down through scales, which informs the critical device of man as a chemical and elemental construction of language, a genome, a genetic formation, again, a construct.

And this is the paradox and the beauty of a natural science which at its critical heights, in its greatest advancement and advance, apprehends the great scientific truth that it is no formula.

But it is rather a direct perception of being itself through the body as in the experience of being human in which the truth is revealed. This is prior to the symbolic chain as in the direct manifestation in which and as which even the appearance of mankind as a symbol is stripped away to reveal the primordial, seamless, fluid energetic dimension as a network which is a flue, or agape.

And this, this again fundamentally is Gnostic. This is… Western science has flown away from Gnosticism in an abstract and dissociative conviction that the number or the symbol or the representational image of reality of truth, as in the reflection in the mirror, will provide the realization hidden beneath the phenomenological appearance of things.

05:45

And this is the purpose of Oscar Wilde’s Dorian Gray.

It’s to shatter that mirror and become whole again, in the realization of the embodied self. And this occurs at the turn of modernity.

The turn of science’s movement into quantum relativity and a further advancement into the peering, the cosmological peering into nature. From Newton’s firm physical space in relationship to Kepler’s cosmos; into Einstein’s light and Fermi’s split atom.

And this is the…

06:12

Now, this is the biological obsession with the eyes and with vision.

This was elucidated by the poet Jim Morrison. Mankind has lost its experiential faculty, its capacity to live because it seeks to see. And for mankind to see… it literalizes the faculty of sight outwardly, symbolically, as in the eye. This is not necessarily true sight — unless subjected to scientific method. It is merely apparence, or the flashing vision of impermanence in the image of the object form. It is partial of truth… and thus easily mistaken for truth itself when taken at face for surface.

And this is again Blake’s narrow chinks in the cavern. It’s to turn from this faculty of sight as represented symbolically through the eye and to become looking inward… into the process of being itself, which is being ritually experienced through the body incarnate. The body itself as a vessel, an aperture, a narrows and a well for primordial truth manifest down and in-to historical time. It is a measure of eternity.

06:49

The loss of this metaphysical science has been the loss of humanity’s humanity in many ways, because this is a great cosmological truth at the bottom of all science, at the bottom of all of the most advanced science. Everything from thermodynamics to the biome to the astrophysical to the cosmological.

At source and root, are all reductions that return us immediately back to the present and the experience of the grand history of the universe in being in time which is incarnate in the organism itself. The organism resolves itself in this as a primordial unity of all of these fields made disparate and separate by the historical dissolution of the field of being, the unified field of being — into disciplines or silos… rent from their actual, real primordial unity in the immanence of being itself — the timeless within time.

The substrate which has evolved… which is now experiencing lungs and eyes and the nervous system and the synaptic evolutions of the human. This revolution itself, which is the looking into the abyss of the present and realizing that the entire scaffolding of all time and all history resides directly in the body — as a language, again as a genome, in a chemical and electrical circuit — which is based in the very same elements which construct the scaffolding of the universal. This incarnate form of the human being is resolved in everything from the quantum mechanical to the chemical. It is itself first manifestation and first principle incarnate as a language form. The speech itself contains the essential, the essence.

08:19

So this primary form… of experience is a remembrance of history.

And thus the capacity to experience what is at the bottom of the well of history, which is being itself.

08:42

And there is no other greater truth because... the process of creating the representational mirror itself composes the vast majority, if not all, Western civilizational history. It is the symbolic break into a chain of information as a confusion manifest most clearly in the Newtonian, as well as in the concept of the gods being above, or away from mankind in a theographical sense.

It is the conceptualization of firm boundaries in and as space-time manifest by the impermeability of the form to the eyes — untrained eyes, or eyes lost to the energetic dimension of the shamans and mystics and medicine men of ages past — an age materialistic, reductive, separative as is the appearance of the waveform in a temporary solidity as a seeming phase; a seeming changelessness in the iambic pentameter of human being, anthropomorphic time — the way in which man experiences time through his entropic homeostatsis; his rhythmic heartbeats and trips around the sun. This is not truth… but rather truth through the eyes of man; as it pertains to man’s sense of belonging and his vision of belongings. As in, again, the unconscious genetic script of all mankind.

09:15

It’s… the devotional or votive aspect of the symbol, as in the letter, the word, the image, the reflection, the thought, and that these symbols themselves are the construction of an ulterior and nonexistent mode — which is then worshiped as truth, which is then deified, which is then given the meaning and value and purpose that is inherent within the experience of being human, unreflected and unrefracted as in direct, imminent experience. And this is the entire history of world mysticism as well as the conceptualization of God in a Western historical sense as being outside of the body, or dissociative or dissociated from the real experience of the immanent thermonuclearity; the cosmic and cosmological metabolism as in processing and processor of energy; as in translation and transfusion in and through the seeming symbolic dimension or linguistic device of chemical and elemental symbol. Which then, always already, is characterological as in recombinative, or aspect — which as the Greeks intuited in their conceptualization of the pantheon of gods, contains and creates a specific energetic signature or reaction in space-time. It is productive of a certain energetic quality. As in the interaction between hydrogen and oxygen.

It’s the entire history of the meditation upon impermanence and the meditation upon death. And to pierce impermanence and death, what is necessary to a great degree is the existing revelations that have brought us about this roundabout curve of the scientific revolutions… which have granted us insight into the microbiome as well as the macro cosmos. It is a deeper unity of the intuitions of our mystics of ancient world history; a deeper vocabulary in which we can conceptualize self and world and the primordial unity between the two seeming impulses of internality and externality as in cosmos and psyche.

10:06

What this work presents and continues to present… is this profound unity of advanced Western metaphysics and science with the ancient Eastern mystic mode, which is apparent as well in the Christian mystics such as Meister Eckhart or Jakob Bohme.

This piercing of the veil of nature is a direct incarnate experience. This is the mystical mode as a method of primary science; reproduced in the modern quantum mechanical scientist — who is and necessarily must be well versed in such a way of being. For the experiential substratum which pierces the phenomenological and the seeming Newtonian is directly aligned with the qualities of observation, attention, focus, and wave function in the quantum mechanical scientific lexicon. This is the primordial unity between the poet and the scientist as manifest in Goethe; reproduced symbolically in his Faust cycle — as well as with da Vinci and Michelangelo in their anatomical works; da Vinci’s inventions and incursions into the science of the heart and gravity.

And what the Western philosophical and scientific mode has done is it has begun a sophisticated deconstruction of the composite parts… to tear apart the book of the living and the dead and to rend the symbols from them and to reduce them to chemical, to element, to genome, to atom, and then fundamentally… to primordial energy, beneath the appearance of the particular, or the particle, or the molecular.

11:04

This is as much rending water into its composite elemental parts as it is rending the human being into its composite elemental and chemical parts.

And understanding this… constituent microbiome is really a biomechanical device. It’s a natural linguistic construct that is created through this natural technology, through this native intelligence and this recombinative process of time.

This faculty of the universal or the universe being able to experience itself and reflect upon that experience. To break from the genetic script of pure survival, as in the continuance of the biomechanical device, as a language form and a thought form of the universal. This is a program and programmatic of a specific architecture of being in time, to reproduce and thus create the capacity for transformation to stand and withstand in the thermonuclear, metabolic, entropic river of cosmic time. To resurrect energetic thought form and thus prolong its capacity for ineffable transformation into higher unity; a higher unity.

12:01

You understand — the human being or the human species… to be a thought form, which is being reproduced and altered through time, iterated upon, as in a universal scientific artist.

This is why the concept of da Vinci resonates so deeply with human history, because the scientific artist is one in the same as the cosmological mind. It’s a creative iteration upon same through constituent parts, a linguistic alphabet of chemicals and elements which are being radically recombined through the chamber of time as an experimental and experiential process to produce increasingly more radical and strange outcomes. This is the beaker of the streets just as much as it is the beaker of the hadron collider or the star system.

Iterative organic devices, which become iterative technological devices in a digital sense. As the main cultural innovation of humanity, from the written word to the symbol etched upon the cave, to the quantum computational chip, to artificial intelligence.

12:58

And this is the grand creativity in the highest strangeness which is incarnate in mankind… is that it is a device which has been formed by the pressure chamber of the universal which is to say the physical forces and devices which are in states of radical relationship, which is again gravity electromagnetic fields waveform states, phase changes, and the thermonuclear systems and subsystems of the grand cosmos.

It is an ecosystem of statuses and stasises and phase changes as in systems and sub-systems at states and rates of thermonuclear change. Producing and interrelating intergalactic processes and outcomes and transformations.

14:08

And so what we are seeking to witness and what we are meant to witness is being itself through this chamber, this distilled chamber of the human being, being through time and being in time as it imminently and radically transforms. And that the human being itself is a sublime revelation of this process; in itself a high strangeness… that while it is unconscious… it is replicating itself.

Toward an ulterior motive of becoming conscious through a radical new species device, which I am suggesting and have suggested is technology. The birth and the creation of technology as a radical, exponential accelerant of grand cosmological recombination; a folding over of space-time.

Digging into this substratum of chemical and elemental dirt.

14:40

Digging into this earth of the cosmos, understand this metaphor… the earth of the cosmos being the particular and particulate with its qualities of relationship, as in the chemical compound, as in the elemental construct.

As in molecular systems that bind, combine, attract, and repel.

Create heat…

Through the essential energetic magnetism that is their innate character.

And this is the characterological function within being which is implicit and radically implicit within time. It is the real grand process of the cosmological and cosmological being in time.

15:39

Because the characterological function… is that which is the construct of the letter or the symbol. It is transcendent and absolute across all spheres and systems — as in the letter, vowel, element from the forge of the star, chemical synthesis and compound, genetic script… this is a language at soul and at root.

And this is what’s so strange about human culture as a symbolic and representational device which is observed through the eye. The eye again as a symbol of vision, or… symbolic of that capacity of sight into mind, the linguistic mind and language weaving of nature — which is the human capacity at its deepest level.

Sight or insight into the fabric of existence, and thus to understand its true nature — which is again the Gnostic principle of know thyself.

16:38

This process… combination and recombination into the elemental letter is the realization of the symbolic language of the cosmos, which is fundamentally… as it is realized and incorporated into human technology, which is to say everything from the atom bomb to artificial intelligence to the construction, let’s say, of cloning or working with the genome…

It’s the realization that the symbolic function of nature, the letter of man or the book of man as a compendium of the elemental chemical, the genetic alphabet…

That this compendium, behind the letters, behind the symbols — is energetic function, energetic movement, the heat that is generated.

The heat that is consumed or expelled or produced within a system through the characterological interaction of elements, relationships, organisms, thought forms, within this grand cosmological synthesis and process of revelation through energetic production, reproduction, consumption — in this interrelationship between the elemental, the chemical — as in the linguistic construct of the cosmos itself.

18:29

And this is what man truly is… is a biomechanical device, biomechanical organism.

A highly advanced, syncretic construct of this linguistic alphabet, the genetic, chemical, elemental layers, which themselves produce a field synthesis as in an energetic form. Which are fundamentally thermonuclear and wave form as in compendium and compound frequency of this apparent synthesis of being as and in time as a temporal formation and a genetic chain — as Nietzsche elucidates — as in a tightrope over an abyss, or a well gazing down into the absolute primordial deep of evolutionary and grand cosmological time; the formation of the seed of the cell or the genome from the deeps of the well of the water and the glacial; the fire of the primordial self; the primordial unity…

18:57

The wave form of the human being — which is an information cipher. A translator, a transformer, a resonator.

The formal being… which is in relationship to the grand cosmological itself as an information cipher and is filtering information technology as an information, as in nutrition, as in radiation.

And transforming that information — just as it is itself being transformed by that relational, integral, experiential encounter of being in time as stasises and statuses of evolution and phase change within that grand system form. In this way and sense… it is simultaneously unit and unity.

19:40

Man itself is like a lung, but a lung with strange eyes — and that at any moment could shift into an entirely new synthesis, which is a new linguistic constitution within the genetic and the chemical.

19:58

So have this ritualistic process which is occurring at the level of the cosmological, just as you have this ritualistic process which is occurring at the level of the human — to generate, through culture — technology which mimics the cosmological natural technology through which it is constructed as a biomechanical organism… to crack into that cipher or code of the human being and of nature, which is to say its former opacity in a phenomenological sense. The former opacity of nature. That code which, as it is and extends naturally though man, is simultaneous and imminent, immediate and transcendental — as in a field language.

To reach into the image of the mountain, or of man, or of plant, or of animal, and draw out this hidden symbolic cipher and language, which is the constitution of the entirety of Western thought, as a philosophy, phenomenology, and a science… to reach this linguistic knowledge, and thus begin an active terraformation of life itself, through the letter, through the alphabet and thus itself and life itself as a total field of being and field-being proper — through, in the Christian mystical sense, the word, or in the Greek sense, the logos.

21:18

And in the Kabbalic sense, the Tetragrammaton… itself, man is constructed as a letter and as a symbol.

21:27

This is cross cultural, cross mystical; directly into the scientific as a clear translation and a first principle unity… and thus itself primary existential.

21:46

And this is the turning in of all history upon itself.

22:00

This is the moment in which history as a trajectory and a timeline folds over upon itself.

22:07

That the opacity of nature formerly is revealed as this grand symphonic letter, and that the energetic dimension beyond and through the symbol… is in the element or the character of the chemical, and its interrelationship is revealed as a symphonic language of symbolism and beneath it, the pure heat, the pure will, the pure character.

Which can be and is being imminently, radically, combined and recombined, as in the grand cosmological of timeless being, characterologically, in time.