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Thread: On creating new systems, new languages

  1. #16
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    There was some other source, in the vein of Lemuria, ccru and maybe Y2K and all that jazz, where his work is argued to have been marginalized (by some representationalist orthodoxy?) as being science fiction or some such pasteurized fodder. In effect, the interpretations surrounding his work were manipulated and orchestrated by some agents of control, in the interest of subduing and disarming the kind of resistance he was working at. I never figured the cutup as being such a cosmic tool/weapon

    Might've even been someone at this forum who led me there - not sure.

    Ever make a dreamachine?



    -----commencing concept dump (not entirely unrelated, I suppose)



    “Current Analysis” as a morphology of power (or power’s asymmetrical distribution)

    Another potential factor in this prospective newish system might be a sort of “current analysis” - currents as in directional flows, directionality here being teleological.

    So we have a pool-matrix, wherein currents can actualize in whichever direction. This would represent the agency of an actor, according to their will. They will their world in their preferred direction, with whatever degree of potency. As we experience ideological difference, so these currents experience directional difference.

    This amounts to a sort of arena, an agon of tides, wherein contending currents crash into and subsume each other. The more powerful tide subsumes the less powerful tide, and as a result its directionality shifts, if even slightly, according to the directionality of the swallowed tide. Dialectics conceptualized in a polythetical crash pool.

    Naturally, there arises the occasional current which becomes so powerful that its reign/duration may exceed those of the other currents exponentially. This dictator current can reach the point of (more or less) predefining the default-current (which begins as neutral) of the whole pool, proactively midwifing nascent currents in accordance to its own will. The pettier currents yield, conform, and even default to the “way the wind blows”, which only crystalizes the reign of the dominant tide even more.

    Can this “current analysis” be figured as a morphology of power? Taking the Foucauldian sense of a "power relation" as a sort of proactive determination/sculpting of the maneuverability of the adversary. If you can prefigure your adversaries set of options for future action, chiseling off their options that actually threaten your dominance, you effectively secure the power relation, and effectively protract/extend the longevity of your dominance. Because the dominant tide influences the default “canvas” of the pool-matrix (a sort of hegemony force?), any resistance against the will of the dominant tide becomes increasingly synonymous with resistance against normativity.

    That said, the appropriate concatenation of counter-currents can, under the right circumstances, coalesce into a revolutionary mega-current, thereby disrupting and potentially dethroning the dominant current and, by extension, altering the dominant normativity.

    We can perhaps figure normativity, here, as determined by the current that passes the threshold of volitional supremacy (?). Perhaps another way to phrase it, the loudest voice can seem to bend the wind. Another yet: Once a current becomes strong enough, once its influence carries wide enough, such influence becomes indistinguishable from reality - it becomes the default, and thereby actively affects the development of all other currents, and prefigures the development of nascent currents.

    What would be interesting would be the identification of distinct/singular patterns or orchestrations that arise in such a pool-matrix. How does the upper-bound of power potential, as informed by the history of the pool-matrix, develop over the course of such interplay? Would such an upper-precedent develop exponentially, or arithmetically?

    What if we figure this pool to be stagger-nested within/above a larger pool, and that pool within an even larger pool - and its turtles all the way down? Then the so-called revolutionary current-concatenation would amount to an “overflow” of the vital substance from the smaller pool into the larger pool, the larger canvas/matrix, into which the revolutionary residuum-current would amount to but a petty pawn current in yet another nascent interplay of currents? The biggest fish becomes an average fish in a bigger pond.

    Perhaps this is merely an interesting metaphor, but there may be something to it. In collapsing all ideologically-willed action into a coterminous abstraction, perhaps we can, with greater sobriety, analyze how these wills actualize and unfold. Can currents run absolutely parallel, or can they, at most, achieve a provisional and heuristic harmony, aligned by a common enough directionality? Is it s game of pure proportion? That is, if current A, at size 10, moves northeast, and current B, at size 5, moves northwest, and they collide - is current A, at size 15, having subsumed current B, now aiming slightly more west?

    Moreover, could this interplay be figured on multiple scales? Intra-psychic and inter-psychic? Perhaps only the currents above a certain size are felt consciously? Or perhaps not - perhaps size is a measure that is not directly correlated to consciousness?

    If the intra-psychic matrix-pool can be identified as a stage of individuation, could the inter-psychic matrix-pool be too? Would this be the individuation of the species-intellect? The individuation of the noosphere? Of intelligence most broadly?

    What would a fractal pool-matrix entail, rather than a recursive nest-chain of pool-matrices? Currents composed of currents composed of currents? This all opens doors for cybernetics as well.
    Last edited by constant escape; 07-03-2020 at 06:43 PM.

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  3. #17
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    Quote Originally Posted by constant escape View Post
    Ever make a dreamachine?
    Nah, I've tried an online one though. It didn't have much of an effect.

  4. #18
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    It's interesting you use the metaphor of a pool. Did you see the thing shiels posted the other day re: "Pond and the Pump House"?

    Quote Originally Posted by shiels View Post
    What is Psychedelic Information Theory?

    The general theory underlying all of PIT is that psychedelics create information when introduced to human neural networks. The spontaneous creation of new information is the essential function of psychedelic activation, and this new information is imprinted into memory and reproduced as music, art, or stories shared with other people. More specifically, PIT presents physical models which describe this generative process, and the dynamics of various psychedelic phenomena like complex hallucination, shamanism, and group mind.

    How does PIT describe psychedelic action?

    One way to visualize what I’m describing in PIT is through what I call the “Pond and the Pump House” metaphor. Imagine a perfectly round pond with perfectly still water, with a small pump house sitting on an island in the center. When the pump house is turned on it sends out perfectly circular ripples through the water that, over time, create a neatly ordered standing wave of activity. In this metaphor the pond is the surface of the neocortex; the pump house is the body, heartbeat, and respiration; and the ripples are waves of sensory perception seen in an EEG reading of cortical activity. When the pump is on and moving at different speeds, the ripples on the surface of the pond are active and take on different coherent patterns; when the pump is turned off the ripples fade and the pond becomes still and quiet. These are metaphors for consciousness moving from waking to sleeping states.

    Now imagine we add a psychedelic to this model. PIT proposes that psychedelics alter the wave patterns of consciousness by creating a tiny tremor under the pond that vibrates the entire structure. Adding the psychedelic to the system creates a competing standing wave that can be seen immediately in the ripples on the surface. The pump keeps pumping, creating its usual standing waves, but because of the tremor there is a new layer of complexity to the ripple patterns. The tremor adds energy to the system, and as it does the standing waves in the pond become more chaotic. Instead of simple coherent ripple patterns, you begin to see overlapping patterns and fast transitions between multiple standing wave states. The complex interference patterns overlap on themselves and exhibit the formal qualities of nonlinear feedback system, such as fractals or cellular automata.

    The interference pattern in the ripples of the pond described here is how PIT models a competing tryptamine agonist (a hallucinogen) in the finely timed aminergic system of perception, modulated by serotonin and dopamine. This complex interference pattern is what I am describing with the Control Interrupt Model of psychedelic action. According to PIT, each hallucinogen creates a slightly different tremor or vibration in the signaling pathways of multisensory awareness, which in-turn creates a unique and distinct interference pattern in the standing waves of perception. Some hallucinogenic tremors may be big and rolling, others may be quiet and subtle, others may be sharp and disruptive. The difference in tremor speed and feel created by each psychedelic molecule would be accounted for by the differing receptor affinities and metabolic pathways for each hallucinogen.

    How do psychedelic interference patterns relate to the techniques of shamanism and psychedelic therapy?

    Let’s go back to our pond metaphor. Assume there are sand dunes created at the edges of the pond that correspond to the long-term memory of the standing wave patterns created by the pump house. If you check these dunes after each psychedelic tremor you might find new tiny fractals, spirals, curves, cracks, and filigreed patterns etched into the sand. These sand etchings correspond to the memory of the psychedelic experience now embedded in the patterns of the neural network, and these memory patterns then inform behavior, change beliefs, and are presented over and over again in art, music, and philosophy. That is a metaphor for transformative psychedelic therapy.

    Now let’s assume there is a tribe of people living at the shores of this pond, and this psychedelic tremor hits once a week. It would be perfectly reasonable to assume that these people would adopt the psychedelic sand patterns as a kind of tribal identity, and embed those patterns into their clothes, tattoos, face paints, pottery, and so on. This is exactly what tribes who take psychedelics do; they embed the colorful fractal patterns created on the surface of their brains onto the surfaces of their bodies, their artwork, their walls, and their world. The physical spilling over of complex psychedelic patterns from a single underlying ripple effect is the foundation of PIT. Psychedelic Information Theory studies the movement of complex information from the genesis of initial hallucinogenic interference pattern to the outward organizing effect on belief, personality, behavior, and tribal structure.

    Now, to go one step further, assume that whenever the psychedelic tremor strikes, the tribe of people living at the shores all gather in a circle and begin to sing, or stamp their feet, or beat large drums in unison. The songs produced by the tribe will naturally fall into harmony with the tremor and begin to shape the ripples in the pond through harmonic interference. Over time, if the tribe sings loud enough, they will produce a standing interference pattern, or group hallucination, in the ripples of the pond. This can be described as a shared state of consciousness locked through a standing resonant feedback wave. Shaping interference patterns in consciousness through singing or resonant feedback describes the basic ritual techniques of psychedelic shamanism. Through resonant feedback the shaman and the tribe can master the nonlinear dynamics of the interference pattern to work various forms of magic on the surface of the pond.

    The Control Interrupt Model reduces hallucinogenic action to a high speed sensory attack and decay envelope. Why did you decide on that model?

    While studying the effects of various hallucinogens, I would always notice a carrier wave, or a high-pitched frequency, or a pulsing, or a throbbing, or a tingling, or some kind of stable interference that was familiar to that substance. And after studying various trip reports for various substances, I realized I was not alone in recording these simple observations. This stable interference is often reported to permeate all sensation; touch, hearing, vision, the entire body. I began to measure the frequencies of these pulses and tingles for different hallucinogens and realized that they all fell into alpha and beta states of consciousness, between 4 to 30 pulses per second, and each drug had a slightly different timing and feel to the way the pulses came on and interrupted consciousness. The slower the interruption, the more of a throbbing or stuttering I felt; the faster the interruption, the more of a tingling, vibration, or high-pitched tremor I felt.

    At some point in my analysis of different drugs, I would always say, “That stable interrupt frequency is interesting, I should take a closer look at that,” or, “Isn’t it weird that I always feel this throbbing on this specific drug, which feels very similar to the pulsing I noticed on this other drug.” And then as I began analyzing that one simple pulse interaction, I wondered if pulse interruption in frame perception was all that was needed to produce hallucination. Mind machines produce phosphenes within a small range of light pulse frequencies, so what if hallucinogens did something similar in the same pulse range? What if those pulses were the drug’s only action, and the throbbing was the perceptual aggregate of modulatory interference at sensory binding junctions? During the process of formally describing the action of these pulses, it became obvious that the pulsing interference was a carrier wave for hallucination, like the flickering frame rate of an animation reel. The pulses created an overlapping hallucinogenic flicker, or an overlapping modulatory ripple, in multisensory awareness, that creates the chaotic substrate for complex hallucination. It was an extrapolation of psychedelic pharmacology that scaled up to make sense in gross perception, which was the exact kind of model I was looking for.

    The more I analyzed the various properties of the flicker or pulsation for each drug, the more I realized that this specific pulsing function was the thing that caused each drug to produce unique geometric hallucinations, like Chladi forms taking on different standing wave patterns on steel plates resonating at different frequencies. I then realized that each hallucinogen could be modeled with a unique interrupt frequency and properties of saturation attack, decay, sustain, and release (ADSR) to describe the onset and feel of distinct hallucinations. An ADSR envelope is a wave modeling technique used in electronic synthesizers to shape the tones and sounds of various musical instruments, but can be used to model the “voice” for any standing wave. The ADSR envelope for each hallucinogen corresponds to receptor agonism and affinity, which naturally shapes the tone and feel of each hallucinogen’s unique sensory patterns. After reducing hallucinogenic action to a function of wave interference in perception, it was then only natural to extrapolate hallucination as a cascading event that starts with a small, stable, perturbation in perceptual feedback that grows in amplitude over time to entrain the functional output of the entire system. This model does not rely on anything other than targeted receptor agonism to drive the resulting emergent process.

  5. #19
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    Fascinating. I hadn't heard of PIT. Sure ramps up the interest in physics. I'll dig through the psychedelics thread a bit more.

    I love it when metaphors are expanded beyond their initial application - you always seem to get interesting results. This interview makes me wonder about the potential of willed transmission of certain frequencies, and whether or not this can be exercised by means of some meditation techniques.

    Yeah the dreamachine didn't amount to anything more than a cool lamp in my case. Granted, it was half-scale, and I never spent any considerable duration sitting before it.

  6. #20
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    They accepted him with no questions. He thought of himself, there and here, as a radio transmitter of some kind, and believed that whatever he was broadcasting at the time was at least no threat to them. In his electro-mysticism, the triode was as basic as the cross in Christianity. Think of the ego, the self that suffers a personal history bound to time, as the grid. The deeper and true Self is the flow between cathode and plate. The constant, pure flow. Signals -- sense-data, feelings, memories relocating -- are put onto the grid, and modulate the flow. We live lives that are waveforms constantly changing with time, now positive, now negative. Only at moments of great serenity is it possible to find the pure, informationless state of signal zero.

    "In the name of the cathode, the anode, and the holy grid?" said Pökler.

    "Yes, that's good," Mondaugen smiled.

  7. #21
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    Well this gets at it - a sort of computational spirituality. I wonder what religious prospects exist here, in identifying as a processor-at-essence.

    Fleeting gaps in the throughput (lacunae of sanhkara) would be a kind of nirvana.

    Haven't gotten to Pynchon yet.

  8. #22
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    Anyone have any thoughts on disciplinarity?

    What kind of topic warrants a discipline established/instituted around it?

    How do disciplines negotiate their boundaries with neighboring disciplines?

    What occasions the begetting of subdisciplines? Epistechnic schism/fission?

    Inversely, what occasions the coordination, or even merging of disciplines? Epistechnic fusion?

    The reason I'm pushing all this is because I think once we get a deep enough understanding/fluency regarding how we structure our modes of knowledge, it could expedite some kind of paradigm shift (I use that term rather loosely - but I do mean a drastic qualitative change).

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