Qwernomics Path Dependency & Semiotic Fatality (Session 7)

Hello and welcome to the seventh session of Quornomics, Path Dependency and Semiotic Fatality with Nick Land. I'm going to pass the mic off to him now. Thanks Tito. So, I don't know whether I should be apologizing for this time or whether it's actually the first time everyone else has been in a good time slot. um but anyway it's definitely anomalous and no one's had much time for sort of intermediate reflection since the last since the last session so let's see how this goes um so I was going to start off by just introducing a very kind of down

to earth element and then maybe driving us straight over the clear because I thought after six weeks of painstaking sobriety and theoretical caution we we might have right to get a little bit nuts with some of this stuff but the but the sober the sober side and it's something that I think definitely applies to the I'm just gonna put a couple of links in here for people the introduction to this is I thought a really interesting quote and interesting

partly because it's typical you can find it all all the time sort of things like it and it comes let me let me see whether that was included no it wasn't hang on I'm gonna put it in now so coming from this this thanks from this hackaday article which is itself just basically a kind of report on other stuff which is which I included in the link but it starts the very first sentence is there were very few things that are surrounded with as

much hearsay and rumor as the or layout of type keyboards and I think this is a really sorry I seem to just double posted something by mistake I know um it's a kind of a an understated element but it's one of the ways that we could have really gone on this material of just seeing qwerty as a as a mythological motor and producing this this this particular set of prevalent myths or things that are then some

retrospectively treated as myths and obviously the if you look at the dates of this kind of theory this the thing I'm going to just very very briefly talk about now because it's it's actually concretely and empirically complicated so you can get a general sense of what's being said but the details of it are overwhelming actually is this a is this work by Yasuoca to to Yasuoca was actually and this this was dated from 2011 so it actually post dates the a quinnomi a in its economic and technical form that we've reached the

bedrock of the first half of this course it was material it was a theme of theory that was just not engaging discussion and I think it's quite interesting in a number of ways um but in an absolute nutshell what this yes voter paper argues is that the quenomic argument that this pool of typing competencies acted as a control and a lock-in mechanism for QWERTY so that one had a kind of QWERTY competent typing population that then meant the keyboard

layout could not migrate it was had to cater to this actual established population of skills. The Yasuo argument pushes that back a whole level and says that the origin of the keyboard and QWERTY came in a context that already included a pool of established typing competences being established by telegraph technology where it gets a little bit empirically demanding and as I say goes beyond a

purchase on but their argument because of the peculiarities of American Morse which was a which was a specific highly culturally diffused cultural of Morse competence with its own characteristics that the typing population competent in this system who've been raised on set people and that certain key arrangements were favoured because they they were

compatible with this existing type pissed skill set so in a certain sense this argument is a radicalization of the quernomic argument as we seen it of saying it's not that QWERTY quickly this pool of typing competence but rather this there was a pool of typing competence that already controlled the emergence and settled the the arrangement of QWERTY and so this goes in a number of directions I mean one of the directions obviously just had it it and model of lock-in based on this

uh theory the the existence of a cultural population as a as a control a controlling or constraining influence on the development of particular technological system and secondly it it becomes a probably the most stark um example of this retrospective theology because because saying that ...posed by people trying to split up this layer de pares through language is itself a myth.

So Qwerty had produced, and reflection upon Qwerty, had produced this very definite distinctive logical system that is now being um um framed from it from a kind of subsequent theoretical position um so i think it just this stuff just needs to be put on the on the list it's really a first module type material and i think as i say if people take it seriously it's it's quite a demanding quite a demanding theory and but it definitely claims to explain the

position of certain letters based upon their inherited competences in relation to the American Moore system but I was I was hoping today to plunge right into into the depths of what I think could be described as the the extreme quenomic thesis which is basically that QWERTY is the revelation of a transcendental cognitive engine and I think that kind of starting point maybe

for this is it's like him with the question why okay this is this is a local question because the way we're pitching this but why is the georgia models such as extraordinarily intractable piece of piece of writing and I'll just quote something that I think captures that a little bit where they're in narrative mode they or it or whatever the the voice of the text and it's and it says the audience rather sulkily denounced the numerous misunderstandings, misinterpretations and even misappropriations in the professor's presentation.

Despite the authorities he had appealed to, calling them his friends, even the dogons, and things would presently get worse. The professor cynically congratulated himself taking his pleasure from behind, but the offspring always turned out to be runts and rents bits and pieces, if not stupid, localization. Besides, the professor was not a geologist or biologist. He was not even a linguist, ethnologist or psychoanalyst. Whatever his specialty had been was long since forgotten in fact Professor Challenger was double articulated twice and that did not make things any easier people never knew which of him was present he in question mark claimed to invented the discipline he referred to by various names rhizomatic strata analysis schizo analysis nomadology micropolitics pragmatics the science of multiplicities yet no one clearly understood what the goals methods or principles of this

discipline were so I think in all kinds of ways that's a sort of weird it's a weird passage and it it's sort of deliberately designed to generate a confusion that it doesn't undo it's not like there's some narrative resolution to this later and and the confusion that it's referring to is something that is then resolved or dissipated by conclusions later in the text. And so we kind of might ask, well what really what ultimately is the source of this confusion? And I think that the answer to that

takes us to transcendental philosophy. And the fact that, as we've sort of touched upon before when we're on this material previously, there's no difference between the set of ultimate criteria, cognitive competences, um cognitive resources that might be drawn upon in order to accomplish the the the construction of a scientific or philosophically rigorous strata analysis and the machinic assemblage

that produces the strata like these where there's no difference of level there's no transcendent theoretical resources all the theoretical resources all the cognitive resources that can possibly be accessed are themselves going to be products of the machine under investigation so so the confusion and obviously they they call it's a confusion that they they systematically call schizophrenia um is a straightforward result of the imminence of the undertaking that that um there's there's no structure of mentality that is in a position of

transcendent authority in relation to the material under investigation so that's the that's the in philosophical mode how to describe the problem um so for us um i think that this translates straightforward and say into what is i think the most extreme thesis uh that one can make about our object here that it is also the transcendental cognitive resource accessible to us in tackling the material that once again there's no difference of level in in passing from a kind of a sober I think deeply

uncontroversial mode of historical chronomics into the extreme chronomic thesis one is passing this threshold of eminentization and saying that ultimately the cognitive machinery that we are trying to pull into play has to come out of our object and there's there's the actual what last week I was describing as the abstract apocalypse that generates the QWERTY distribution is itself at an ultimate level of I could say cognitive authority or it's there it's the final deposit of of cognitive

resources available to us. So this is obviously pitched at an extremely abstract level so I'll try to actually give an example of how I think this might, okay I'll venture saying make make sense but I think that that's probably something that would need to be withdrawn further down the line. um okay that putting it in order is something that it's not yet confidently done but I think

I'll go this way around so um we've we've continuously in sort of just uh in engaging in a you know um a sensible analytic procedure in relation to the qwerty keyboard I think consistently found that there is this that it consists of four rows it breaks down their alphanumeric series into into into these four groups that are stacked and that the top of these the top row the numerals have a number of very

distinctive features that seems to separate them out in all kinds of ways from the rest of the the keyboard and I don't know whether I need to go across all of those it's it's a it's a closed set in a number of in a number of different ways it's highly continued continuous with with the alphanumeric series all 10 numerals are a group together right at the beginning just as they are in the alphanumeric series then the numerals are not the new more keys are distinctive in the fact that they as we've seen each has two characters on it not just one they they

don't operate there's no well I'm now going to get into into the into the main thing which is to say there's a there's a whole other level that we can get to about what where this distinction happens which is to do with the phenomenon of case upper and upper and lowercase now upper and lowercase wasn't something that you found on the very earliest keyboards so I actually had a date for when this was introduced but I think I've probably lost it but I'm going to just take it as part of the part of our the system we're looking at

and I think it's a I think it's a valuable resource it it obviously differentiates the the numerals do not have case unlike all other characters and so it's tempting in some way at least to ask sort of tentatively is the relation of case of upper and lower case a stratic relationship that cuts across in another dimension to the ones

that we've been looking at. Like between upper and lower case letters, is there a relationship of content and expression and one might even go further and say is there a an extremely compelling model of the relationship between content and expression to be found in the in the relations of of case between the characters what the reasons we might want to say this starting with the most the most obvious I think is the fact that the uppercase

version of every character is the one that is expressed on the key concerned and the lowercase version of the character therefore is in the is in the role of content. So you find the, in a way there is kind of a classic version of this as it comes out of the history of semiotics, as it comes out of Hemslev, as it continues to have these kind of susurian echoes or resonances which are obviously being reordered and and even dispelled by what Delano and Kvartari are doing with

Kiemslow um but it seems to be that the the uppercase characters are in a certain sense the sign for the lowercase character so you press uppercase q and you type lowercase q lowercase q then seems to be like the content and uppercase q seems to be like the expression. And one of the things that come out of this I think this tentative hypothesis is that some of the relations between different strata that Deleuze and Katori talk about seem to be captured by this

relationship between case because for instance they they say especially on the physico-chemical strata and the relationship between content and expression often takes the form of simple magnitude so that um this is repeated a number of times Sorry, one second. let me just I'm sure I must have

made a reference just okay sorry i'm not going to slow i'm not going to slow this down i'll get i'll get back to this later but but obviously you can see that um the relationship between uppercut and and lowercase letters have this same thing that that in some cases um it's basically just that the the lowercase letter just looks like a smaller case a smaller version of the uppercase letter and other times there um the relation of resemblance is far less obvious

or it's certainly can't be just managed entirely by this sense that the relationship at stake is one of difference of magnitude and so the lesson that that comes from that straightaway is just to say that you cannot recklessly generalize from the relation of content expression as it is found in certain cases into some kind of principle or law that applies to the relationship of content and expression in general so I think it's just to say the relation between the upper and the lowercase series of letters acts as a kind of a kind of warning or corrective towards that that over hasty sense of finding some regularity and and and

and seeing it applying across the whole domain of the phenomenon. There's obviously a question for me that immediately jumps out. Is this variation between the type of relation that you find between the upper and lower case letters something that systematically is subject to a systematic pattern of distribution across the keyboard? I'm not sure I don't jump to any particularly firm conclusions about that it is I think noticeable though that it almost all the cases in almost all the cases of the of the keys on the bottom row this is true I think I'd be an N

are the only letters which which aren't don't have this uh simple relation of scale organizing a relationship between the upper and lower case characters and i think it's also true that um if we go back to the alphabet um there's a there's a pattern that's very distinctive which is that the early letters in the alphabet have much greater variation between content and expression between case than the than the later letters in the alphabet and therefore there's room for confounding on this that if we find some pattern in the qwerty keyboard it might

just be a pattern based on whether we're talking about early or late alphanumeric letters rather than anything specifically about this phenomenon so anyway the first step of this is just to say if you take cases as an important clue it's kind of tempting to say that the the basic diagram that you find in the keyboard consists of a as three mega strata defined by the the letter keys and a row that is adjacent to the system but is it's in some important sense outside is that is defined by the numerals because the numerals

do not exhibit an intrinsic phenomenon of direction between content and expression and I think we by taking one more step we can push this a little bit further so the geology of morals obviously is about a number of things but one of the things it's about is double double pincers and double pincers is a particular way of describing phenomenon of double articulation we've seen that that they themselves choose this

lobster photo for the the opening image plate of the text they they say overtly God is a lobster it didn't doesn't seem to be too preposterous a stretch to then say well What about cancer? Cancer, the astrological cancer. And look at that sign. Is the sign of cancer a sign of the strata?

Cancer, obviously the crab. a kind of two-part a two-part a two-part image that has this relation of a kind of symmetry or oppositional compensation we might want to sort of um explore exactly what that way it obviously has a it echoes in all kinds of ways it seems a little bit like a kind of yin yang yang symbol which is also about complementarity, doubleness, compensation, these kind of phenomena. Yes, exactly. That's the first. So let's just go down to the stratic component of the keyboard

and look at it with one clue. the clue I want to suggest is this is that strata are systems of inconsistency that um you define a strata process by the fact that its elements are characterized by what the lesson I call relative de-territorialization by the fact that they're unsettled and resettled there's a process of compensation involved there's a counter process for the process of concern and why it's double articulated is exactly because of this structure of

compensation which we can carry into cybernetics that that whole zone of classical cybernetics that is to do with compensatory systems I think is the same topic as the the topic of strato analysis and so distinctively among the levels of the keyboard is the fact that as Amy has said our cancer signs on the numerical row are consistent between our for numeric series and the qualities and the quality

series so if we're saying just to repeat strata our phenomena of cons of systematic inconsistency then this is another reason why we would want to say that the numeral row is not it's not in the same sense as the rest of the system a model of a static assemblage it's rather that the system of the strategy is put in relation to something that is not in itself certainly to the same extent stratified what what do we find in the rest of in the actual stratix segment of the

keyboard well I want to just quote one other little section of the Georgia Mars they saying machining assemblages are simultaneously located at the this This is page 73 in my version. Located at the intersection of the column, each structure has beacons. So what are these things? here's my here's my hypothetical suggestion and I don't expect people to kind of swallow this with that extreme reservation and suspicion so we're into

a certain of extremely speculative quantumic analysis at this point but I think there is a very very special role characters whether this comes up I think these are I think these are our assemblies that are rotating in all direction like beacons and they are a version of the the cancer sign and as we find it in the strata like the version that we've already seen that we

find among the numerals maybe I'm reluctant to say on the plane of consistency but in some ways we're being told we're being told it's a plane of consistency it's a plain consistency because it is in fact consistent that between the between the alphanumeric and and and quenomic distribution there is there is consistency in the in the order of these elements well what do we find when we look at these stratic versions we find systematic inconsistency because we're only dealing with a small set of elements,

we're not talking about anything that is probabilistically mind-bending. You simply cannot get anything probabilistically mind-bending with four elements. As we've seen, the mode of arithmetical calculus for this is based on factorials, and four factorial is only 24. so the most improbable outcome that you can you can reach arithmetically is is a one in 24 chance and that's not going to sort of I think throw anybody into a state of kind of epistemological delirium it's it's it's a kind of slight oddity and at that level but it's still I think

... ... ... ... ... ... ... ... ... completely inverted so if you if you consider them to be kind of operators of various cybernetic stabilizing relationships there is there is absolutely no structure involving those elements that can be can be formulated

consistently if they work one way round in the alpha numeric series they work the opposite way round in the qwerty series and therefore they they have this double resonance i think with the cancer sign they double resonance because obviously they they have a kind of echo in terms of resemblance their their little pincers but also they echo because um structurally and formally and systematically they are compensatory that that every every ordered um version of these these signs

in the alpha numetic series is precisely compensated by the equivalent order of them that you find in the QWERTY series so okay I'm I'm I'm basically reached I'm I'm reaching max schizo at this I just want to really say to to sort of bring it home a little bit that that what what this is all attempting to explore is to what extent the quernomic system is a transcendental cognitive resource so it's just to say that there's no there's no upstairs from qwerdi in terms of the

theoretical formulation of our problem of chronomics, but I think generally of stratoanalysis, that the confusion, the absolute delirious quality of the Geoglge of morals is due to the fact that there is no upstairs, that once you are in this thing of exploring, well, what is the actual set of diagrammatic compulsions compulsions that we're inheriting from the keyboard you've reached the absolute upper limit of uh cognitive capability there's no there's no way you can go to get leverage on those to get some kind of superior um adjudication of of any of the conclusions that you you might be reaching

um on that on that basis and that's why we're just thrown into this into this same position challenges audience is thrown into that there's nowhere there is no superior authority available to us so obviously this is as I say it's the extreme chronomically thesis I'm not remotely trying to argue that that people should feel radically compelled by the inevitability of this as something that just is self evidently true but what it what it is suggesting is that our kind of persistent questions throughout this this class up to this point about what is this for even if we accept that there is this thing

there has been this abstract apocalypse there is this massive introduction of this cultural entity that we're trying to explore what does it do this is the this is the tentative approach to to that question what it does is it provides us with a ultimate transcendental cognitive toolkit for stratoanalytical investigation of which you cannot you cannot ascend from this position there's no upstairs from this it's all that you have and so that the actual highly obscure historical stratodynamic process from which we have inherited

the keyboard is the same process that has provided it with all the cognitive resources that we can conceivably gain access in investigating our object but I'll stop now and and and see what people think about this or other things I don't know if everyone else was getting the kind of the audio that was glitching in

and out like I was. Oh yeah, yeah. It's not your fault, but can you maybe just go over so I can use it a bit better. kind of relationships that you like you're talking about stabilizing and as you excitatory relationships between these pairs can you go back over that because I kind of missed huge chunks of it and it's obviously super important well okay like the clue for me on this is just this notion which I I don't think is intrinsically a problem as an interpretive there which is to say that the definition

of strata is systematic inconsistency and systematic inconsistency in the sense of compensation so to take a take one little further step of this you know that this is what when you look at the cancer sign what you're seeing is a is a model of compensation that's why that it's a double pinces one pincer compensates what the other pincer does you always need these two relationships one counterbalances one re-equilibriates one compensates for the other and and so in your in your example so you look at you look at this it's I think I

utterly agree of course if you're gonna say well where is the where is the little crab on the numerical section of the keyboard there's just no doubt about it of course the the six and nine are the decimal drawing of the of cancer without a doubt they are they have this this all the same relationships in terms of image and but more than just image also the the the conceptual and dynamic system dynamic content of those signs are repeated faithfully in those two characters.

And what we find, of course, is that the numeral segment of the keyboard is consistent between the alphanumeric and the the quonomic distribution so six comes before nine in both cases there's the relevant one for us here if you then take this further step that the elements rotating in all direction like beacons and acting as the

for our little in the strata are the characters B D P and Q though inconsistent there's no if you take that as your entire vocabulary just for the sake of our little toy system now say the only letters that you have all you're thinking about and focusing on P D and Q you write a word without

any constraints disordered in QWERTY no construction of any kind that you can make using the letters B P D and Q however small that is ordered that is consistent in both the alphanumeric and QWERTY distributions so that's to say between those four characters which is scattered as we've seen across all four of the of the letter rows and none of them are like six and nine there is no equivalent to six and nine they all they all rather than having a consistent or

they don't there's no relation of reinforcement or or kind of cybernetic amplification possible between them the only relationships that is allowed by the system is compensatory or like re-territorializing sorry I don't know whether my audio is still totally glitching out it's just slightly so the like lesson in the um in the qwerty system is that we're we've been kind of leave it out of um any regime of compensatory cybernetics dynamisms that's the kind of teleological

secret of the qwerty um organization sorry me you're watching out just before that So what QWERTY kind of tells us is that the compensatory cybernetic system is no longer an organizing principle of the post QWERTY regime. I might need to hear more about that. I mean what for me, what is said by this is that is that the is that the compensatory stratic dynamics um are diagrammatically included worthy system in such a way that we can see the break between the

numerals in which which is a consistent series and this little semiotic packet in the in the strata which is entirely compensatory systematically compensatory and you know again sorry just to repeat but it's not it's not hugely impossible obviously what we're fundamentally seeing here is that black series be in order b d p q is is obviously reversed q p in in QWERTY such that there's no no formulation there's no construction possible with those

elements that is not inconsistent between QWERTY and their alphanumeric series so it's like you know when you get right down to the the nuts and bolts of it it's not in 20 possibility that that would just happen by chance mind-blowingly impossible it's good it's just you know because the set of characters is so small but it's neat however however sort of modest in its improbability it's perfectly neat in the sense that you couldn't you couldn't produce a more exact diagrammatic micro model of compensatory cybernetics or relative deterritorialization and then

you get in the in the example of these characters so sorry I'm just looking at Theodore's thing and I'm not sure I'm understanding what I mean This is the this is the the a little subset of the possibilities, but obviously a lot of these are the first one is perfectly ordered alphanumerically.

I think the second one certainly is disordered both in QWERTY and alphanumerics, isn't it? the the QWERTY ordered version is not there it's QP DB I mean that was just a sketch okay if it's not I'm not taxing people's patience too much let me just like repeat this weird little thing and I just want to get us some feedback from people do does it just sound completely implausible what where I'm going with

this like when they say machining assemblages are simultaneously located at the intersection of the contents expression on each strata and at the intersection of all strata the plane of consistency they rotate in all directions like beacons I mean I just cannot know I've lost the capacity any longer not to see that as a as a reference to this little diagrammatic toolkit

Therefore, it's sort of threatening to take these words out on this diagrammatic path. So yes, I don't know. I don't know. Sorry, I just lost that last bit that you said, Nick. I wasn't even sure if it was coming from your side.

It was probably just rambling. When you see an expression like double pinters, um you know after after this you know i can't any longer not see this in it i mean it's like uh i mean it probably is that i've just got some now deep neurological malfunction um that that i'm now sharing with the world but i'm just like uh i am sharing it you it's there this seems to me to be this kind of little diagrammatic machine in there and it works too well for me to stop paying attention to it so in the

idea with the way that the BDPDQ are sort of the propellers in a beacon that they have all these rotations the reason that we kind of think that that maps to the machinic assemblage is because you can have all of these different rotations that produce different configurations of the same of double articulation, but they still all face inwards, which is why they're always, which is why they're double articulations rather than simple like relations of symmetry is that you're looking at different, all the different configurations within that diagram of a double articulation. it is yes I think so answers directly references like that symbolic shape that's used to form that diagram yeah yes I think it's diagram it's not and I

mean it operates as an image to a certain extent but I think it is actually a diagrammatic element rather than just an image already you know already in the cancer side it's not it's it's not it's not a picture of a crab and then when you're repeating it it's not but it's just a picture of the cancer side it's a it's a little diagrammatic construction and right I think the way that you put it is right for sure and the whole the whole system is pincered together by these by these elements you know that's probably pretty bad visual description I was just sort of

seeing like sixes and nines flipping around in my head and trying to describe what was going on there um do you think that that relationship between this sort of goes to like to the relation between the shape of the letters and their like phonetic and numerical relationships like prior to qwerty that sorry jake i'm getting audio glitch can i just get your loss yeah yeah definitely no so just saying like in terms of all of these like pre QWERTY you know potential relationships among those four letters like whether it's in terms of numerics phonetics shape like all of that and that having some involvement in the diagram that's um well that's present implicitly in the alpha in the transformation from the alphabet onto QWERTY like do you think

that that's partially what they're pointing to is sort of the way these all of these different relationships between these four get configured within the diagram of the keyboard so I'm sorry Jake I'm I'm really you it's weird did you just slow down is anyone else getting bad audio from Jake or is this just totally mine I think I I can hear Jake all right can you hear me okay yes i can okay okay if everyone can hear jake finesse i'm sorry it's my problem there i don't know what is it anyway i am having this yes that was good that was beautiful oh okay great but so it's still your last sentence that i i haven't yeah no i was just saying so in terms of all of

the sort of pre-quarty relationships among these um these four letters so like one of them is obviously like the numerical order on the number line which is the thing most directly transformed by being put into this diagram on the keyboard but you also have like phonetic and shape and etc I mean do you think that they are making when they sort of make this uh dog whistle is the wrong word but you know what I mean nod to to this diagram is that that you think that there's content or that they're pointing towards something more to be mined from the way that all those relationships between those four letters particularly get configured within the keyboard diagram honestly you you you're into wild jungle tracks that I I can scarcely I can start into so I mean those questions

also made me utterly germane and but you see obviously at one level when you're asking well what are they what were they trying to do or what are they trying to say all of this stuff you're on the same level as you are when you're talking about the QWERTY the genesis of QWERTY you know what was what was Scholl's trying to do or what was the psychom- psychom- psychom- psychom- sociopsychological pro later people waxing the QWERTY arrangement I think I i was still been looking at a lot of different keyboards and it seems that the the key one for the fixing quality was the remington number two type by in around about 1882 and i don't think

show i think shoals was not really involved in this so you know i'm probably over egging his involvement but the but the but the key point is you know i just think we can't We can't know you know what I mean. There's there's more or less plausible I could have phrased that better I mean I want to like go back and retrofit and say by they I meant Legion or the strata that make us or professor challenger or Exactly whatever is coming out of the machine. Yeah, and returning to the machine. Yeah. Yeah Like what do you think what do you think the machine is doing with all of these? Relations among these letters which everybody's sort of going on about like the alien this a few to the others And before that I was kind of I was looking at their numerical values and sort of the weird logical

Yes in terms of prime and power relationships that they form you think that's sort of part of what's going on on the plane of They're really there I I guess what I'm saying about it is it's like a clue and it's a clue the fact that there do seem to be systematic packets of diagrammatic resources that are that are part of this apocalypse you know this revelation that the qrdi system it seems just in the same sense that you're digging through a genome and you find these various bits and pieces

you know you find chunks of old retrovirus and you find rational genes and you find all of this stuff so this is like a certain kind of You know Investigative thing of this system that just digs out this chunk of code and and it looks like a Suspiciously highly functional little diagrammatic and so there's different this you can then say well let's what are all the things we can do with this machine that's a fascinating question and I'm not pretending to have done anything more than absolutely dip dip my toe in there mostly just being that oh it looks it looks strangely

it looks compact of kicks that we in this set of you can obviously like well that's really does and and and those are the sort of questions you were raising that the more modest thing is just to say well look this kind of information is in there then perhaps we're a little bit more robustly to hold on to something like the extreme chronomic thesis actually you know we can see we can at least conceive how

structured cognitive resources can be communicated in this in the system this is just one little telling example of how that might happen and if it can happen in this case then we can't rule it out as a simply unthinkable or impossible that there are you know multiple structures of of cognitive capability being kind of shit through this through this cultural mechanism right this might be getting editor to sot Eric and I think there's a couple of good questions still to ask in the sidebar like theos definitely got one but just so it doesn't it doesn't seem to you

resonant with the diagram of non at all so yeah I'm not what is the diagram of no I'm sorry you've got the alien element of the G, right? Oh, yeah. Still trying to map, like in my head, the numerical square of relations, but just the fact that in BDPQ, you have the fifth and sixth primes, the square of five, and twice the sixth prime as one of them. One alien element, and a reversal as well, because to create that diagram, to create that string four, you reversed the original, I guess it was actually a new Terracon kind of thing And then that's also reversed on the keyboard you've got like you got a

Symbolically a propeller kind of structure. I don't know. I don't know where it goes, but I could see a variety of resonances Yes, I mean I guess one slight hesitation I have is that if the kind of Dread features of non start kind of of poking through too dramatically, it might scare people away at a premature stage. Fair enough, fair enough. So I have maybe a boring question, and it's sort of related to something I said earlier here too. It was, so we're calling QWERTY now, both we're calling it a transcendental generative

motor and we're saying it's sort of the imminent holism in which we find ourselves um and then on top of that are people just not are we no longer interested in the question of why the machine makes a machine that looks back on itself or is that or are we saying that that's not even a possibility um that it's simply like a forward moving machine no i i i hope we're not i hope we're not losing that maybe you should say more about this whole thing about the machine that looks back on it I think this is exactly what what is at stake in saying it's it's an imminent cognitive horizon it's the fact that if QWERTY isn't the machine talking about itself there is no there is no discourse

on the machine that we're ever gonna find that's again like obviously I maybe be an even more kind of cranked up version of the extreme of the extreme quinolone thesis but I'm but I but it certainly I would want to go the direction that you're saying rather than back out of that right yeah this was something that I was feeling early in the course was this problem of perspective like from from what vantage point yes are we doing this analysis ah exactly so I mean I have no answers but that's a constant question for me here yes but again I think we can see that from the extreme quote when I make thesis is that there is no possible that isn't already within the processing

system of course yes the economics that and I do think it seems to me maybe this is a it's almost a bad word to use but I'll use it because it it's kind of communicative in a crude and immediate way is is it's resonant with the kind of problem that seems to come through in this strata analysis I say that that too obviously there's no there's no position of purchase or overview or superior perspective possible because the function all those functions the function of overviewing is itself as product of a certain sort of strata mechanism yeah

and overviewing is itself a symptom of strata embeddedness so so you know learning that lesson learning that that the overview position is itself structured inside the strata is the is source of this narrative confusion that they're wanting to wrap the geology of morals and I think that that totally applies to our problem too for sure yeah this is why I think the image of the schizophrenic is so incredibly powerful it's this it's unable to differentiate itself from its exterior and yet participates sometimes in a way that it does differentiate itself maybe only as

parody yes yes and it's not it's not even though it's taken from the discourse of psychology private psychology is not its ultimate frame and it's definitely something much more like the kind of cultural matrix that we're looking at it's as a self-assembling distributed cultural machine that that that that is incarnated at the level of a population not not at the level of an individual

group delusions yes well it's delusions is an interesting and interesting and sort of ambiguous because obviously the pretense an overview is the is the ultimate metaphysical the the position of confusion that is coming in in in challenges audience of you know where what is the source of epistemological authority for this stuff that is really the delusion and and and the and the sort of implosion of that

into this chaos and confusion is is actually the the realistic insight of the of the imminence of all criteria right i think that's just it i would imagine that there's no way to discern what's delusion or not in so fact that you know everything is is thickly assembled the way it is there's no way to bootstrap out of that in order to say what is or is not delusion right no no I think you can say that certain things cease to work and so in in that sense they become

they become dysfunctional because because because what Deleuze and Quattari is still doing and I think what we should still do is still critique it's not as if it's not that you collapse into this domestic thing of just any random statement has the same status as any other random state statement you know certain constructions are become dysfunctional so the critical concept like metaphysics or the and it's a dependent vocabulary to do with transcendence and these these these particular types of

stick delusion and and can be employed rigorously and I think it's you know to just repeat into what we were talking about with Theodore is I think that the audience are really a subject to the actual process of critique it's not that they can walk out of the lecture if they if they grasped it and think oh we were right and that we were right all along looking at things in the same way we were we were before I think they've undergone some vigorous critical process in that in that

This is basically just a random side note, but like a cool observation coming from the previous weeks is that Juan Young and I realized that most laptops don't, like they remove the numpad. The exception is gaming laptops because that particular sort of parastratic move in became entrenched. And so gaming laptops keep the numerical pad just for the purpose of using it for movement directions. So it pulls back into the mix what might otherwise have been impoverished because of something that moved in on top of it That was pretty yes, I think that is a really important Important element if you if you see sort of you know you just

Googling around in this zone you're very quickly diverted down these paths to do with like especially this WASD keys and these these relationships between vectors and Characters that as you say introduced by the whole It's not just the gaming world is there. I mean the gaming world Uses them with particular intensity, but but that whole Sense of keys as vectors is something that I guess comes Earlier than that from just cursor control actually right Yeah, I know like any anybody who has to Who has to really navigate as the keyboard jockey all the time I think whether it's like coders or people or data entry people or something you know I mean obviously like

People who have been coding for a few years like depending on the software they use might use any particular key for like virtually anything But I think data entry people will use a lot of like navigating around a page using keys instead of uh yeah and stuff like that so yeah yeah that's a really good point i think it relates to things that over the last few weeks i've noticed theodore particularly sort of insisting on um which is a certain question about dimensionality um this came in a little bit in our whole discussion about uh numlock and and nomadic nomadic movement um because obviously one of the sort of little um conceptual moves or the kind of uh

order words that i really like is this whole thing about subtracting a dimension you know n minus one dimension removing a dimension in order to kind of actually um explore a plane of imminence and it's a kind of transcription I don't think it's an exaggeration there's a transcription of the entire critical enterprise into this mode you know you can see that the whole going right back to its origins is counting origins the whole critical enterprise is in a certain sense about subtracting supplementary dimensions that what Kant does at the critique of metaphysics is remove a dimension and collapse a system down into into a

dimensionality of n minus one I much in that role in this space that as someone using whether you're like you say a programmer data entry person anyone using this system there is a kind of implicit supplementary dimension isn't there in this process of navigation and as I say this is what I think theater's doing about like isn't the keyboard a three-dimensional system not a two-dimensional system that they keep their hands hover above the keyboard your eyes hover above the screen there's the whole structure's overview that you're navigating the system by looking down on it from a superior dimension and

therefore directing activity across it from above or from outside from a position of implicit transcendence and so I think a lot of this kind of the the quonomic undertaking a vector of guanomic undertake and endeavor as critique is about this process of dimensional collapse where that implicit overview is subtracted and a navigation whether it's understood as a and navigation around the keyboard or navigation across the screen is

glimpsed in its imminence rather than as something that is subject to this process of oversight. Yeah, absolutely to all of that. I was just thinking like there's sort of two different third dimension, like where shift versus and unlock and like the way that, for example, the way it changes the movement of our fingers in like a third spatial dimension over the keys versus this like second, like quote unquote second spatial dimension or like second stack of mappings to the keys which is initiated by shift or toggled by shift and I don't know, I was just sort of trying to compare those properties

my head because the one you just have you start out with holes in it right like the capital letters as far as that is concerned are just more punctuation marks that you use to indicate proper nouns the beginning end of sentences and things like that and then because once you've exhausted those you start filling up the numeral second layer with them whereas like the finger movement literal spatial third dimension is more like it's like a fractional dimension as if it was like you know it had a dimensionality of 2.7 or something like that because you don't have like like a full three-dimensional grid of teeth, which you have as this sort of partial, like fractured series of edges of movement between them that aren't reducible just two dimensions, like intrinsically, but in order to represent

like a volume, you know, a sort of topological surface. It's basically a volume or fractional dimension. Yeah. Or fractional dimension, yeah. yes definitely yeah no because as you say a fractal system is a is a process of dimensional collapse isn't it sort of it's incremental dimensional collapse is what you're seeing at 10 to infinity on the flat dimension is the thing that is actually consuming and and ultimately annihilating the higher the higher dimensionality I thought in a technical sense, Mendelbrot actually defined fractals in terms of fractional

dimensions, right? Yeah. So on this basis, which in a mathematical technical sense. Are you there, Adam? Think we may have lost him. My audio might be terrible, but... Sorry, it's not the usual connection to that, but... Yeah, it was just about Mandelbrot and the definition of fractal in terms of not whole numbers, but partial.

Yeah, totally. Totally as you say it's an abbreviation isn't that Just as you say a fractional dimension Yeah, I guess my question bringing that up alongside shift was just like Does shift ultimately function as the same thing in the sense that like all of these like grammatical marks that we use shift to add are like ways of breaking up or like adding more Adding another surface to like a sequence of letters and numbers that we type which is sort of like Great on how grammar Or is it sort of is it a completely different thing? Yes? That we're talking about with the hands Yes

That's has to be part of it doesn't it? I mean one way of representing exactly what shift does but also the alt and control keys and all of these and All of these combinations is that they they they add an additional dimension or at least they can be represented as adding an additional dimension to the to the keyboard company a kind of virtual superior dimension which gives you that so that each key becomes a stack actually that you that you navigate up and down that stack between the different characters that can be produced by that key or characters or in certain cases

functions or whatever by using these other these other keys which that that key lock semantic relationship is rather wonderful there yes and it is a kind of it it I do think this it's complicated but this fractal reference is interesting because obviously the control keys that actually move you up and down the stack that is implicit in the keyboard as a whole are in that relationship, aren't they? They're distributed within a particular plane, but in those zones, the whole dimensionality of the system is metamorphosed.

so they're they're they're weird zones of transference between dimensional systems yeah exactly no totally when did the um stuff like control and alt and function i don't know like how many i just chronologically probably we've talked about this has been in the articles I just haven't got a them tells Hey, Nick.

I think we may have lost Nick. I'm sure he'll come back in. I'll send an email, and then we can hang out here for a bit. Hi. Sorry, I was thrown off again. That's okay. That's, yeah. So, sorry, was that Jake saying something? Or I lost who even that was. I was sort of trailing out, wondering about the add dates of different keys. Nothing significant. If somebody else has got things to talk about.

I'm not, I'm following this mostly, but I'm not as familiar as you guys with Deleuze. And actually, I haven't read that particular chapter, but I've skimmed it since we started talking about it. And so I'm thinking the Quironomics is therefore stored in the keyboard. So we could mine different parts of the keyboard as we have been doing for different parts of the theory, right? so Maybe there's a map of the parts of the theory also stored in the keyboard So part of the story did you say miss that one part of the part of the theory maybe there there are Different maps in different ways of accessing different maps

Yes Yes, I think so so then I mean look this is not I let me just in case it's the slightest the slightest uncertainty about this as far as I'm aware they do not explicitly say anything remotely approximating to the extreme economic thesis so if it seems to people that I'm pretending that this is being faithfully lifted out of the out of Deleuze and Guattari scripture then that is a that is a irresponsible impression to be making so it's the the

the set of analogical relations is more for sure the escape key might be especially important if we're moving if it's okay to move outside of cordial because it contains because it's the very first key left and it has three letters on it so might be something interesting there so sorry i'm sorry and i missed the key term there I pulled the escape my escape oh that's all yes yes see oh the escape key yes oh

yeah yeah yeah definitely huge huge for sure yeah definitely I don't I'm sort of resisting being triggered on on esque because it's got it has so many unbelievable cabalistic resonances that it's a bit terrifying I'm sorry if there's a bit of a lull, I'm not sure if the audio is okay.

there's an article and I can't get to the the normal chat but I sent it to Facebook on Facebook Adam if you send it to me I can post it on Facebook or did you put it on like a Facebook page Or if you send it to me, I can post it in the chat. That's what I meant to say. Chogis' connection, I'd like, you know, what's the Xbox thing? I want to believe, but I'm not sure I can quite do that.

The Professor Alaska-esque connection. I don't know. I mean, obviously, who the hell is Professor Alaska? and I was hoping after Amy dug up the actual story which I hope everyone's had a chance to look at that that would be unless I'm subject to some kind of traumatic amnesia I don't think it's in there let me just see where I've got a link to that story here we go

this is the professor challenge a story that that is being played off in the delers and gotari yeah you you oh yeah the water oh I don't know I'm assuming that that's kind of something

really terrible joke but yeah it's definitely there they got a lot Oh, yes, okay. Oh, so this is, so Adam's link is tying together the zip stuff that we're talking about and Mandelbrot. yeah the bundle brought had to do with I think finding the zip patterns in seemingly completely randomly generated

sequences I could be wrong about that I don't know that much about it but I'd be curious to hear if somebody else does yes i mean the relationship between power laws and fractals is obviously compelling isn't it because they they they do have these are obvious common features can i ask a question about the zip thing just i just want to make sure i understand it um yeah it's unusual because i mean the just just to say the summary is is the reverse order of frequency is the one over that,

over its ordinal place in the list of frequencies is its frequency, right? Which is very strange because you would expect a different type of distribution, you know, a bell curve or any other type of distribution, right? And so having it be just a reversal of the actual ordinal seems intuitively very strange. That's what Zipf is pointing out, right? I think that's part of it. Well, sorry, Nick, go for it. No, no, no, you go. You go, definitely. I was just going to say, I think that's part of it, that it points out the direct ordinality in frequency of use, specifically language. But it also, I think, you can see that pattern across other features of existence, I guess.

so that that sharp that diagonal downward is a pattern that reoccurs frequently so yeah I think this I think that seems very important I think it seems key I was reading last year I was reading number and time by Marie Louise von Franz one of Jung's students and it's really dense book about basically like numerology but from a Jungian psychological perspective and how the number archetypes are in the brain and Jung was saying that he thinks that he basically said like he thinks kind of the the low-level programming language of the mind might be number essentially that number is maybe what is maybe underlying archetype is that the

archetypes are maybe more fundamentally number archetypes but that that implies that kind of thinking pretty strongly. So the fact that you, so it makes sense that you find that in the brain, there might be a kind of clicky, numerologic to thought or to the way that neural clusters form assemblages in the way that, because they're, you know, they're firing ticks. But to find that in other contexts is very strange and suggests a more kind of cross, cross-contextual kind of universal flattening or like absolute flattening of context with the way the information is like contagion across across strata is that all kind of sticking to what

we're talking about yeah it's relevance is definitely I think being questioned your final hypothesis or whatever in the last sentence It's not an audio problem, but I'm just not sure I completely get the last suggestion of what you're making. I'm just saying that because that book, what she was saying in that book, Number in Time, makes sense to me and makes sense about neuronal networks in the brain and how they can actually produce that behavior causally. Right. To find it in unrelated statistical concepts or random numbers to find that same type of pattern that suggests this Certain type of fundamental

Grouping and chunking that happens. It's like it's like finding artifacts in a In an uncompressed image. No, I don't know It's interesting because you could obviously turn that completely upside down and could say it's not because of what the brain is like that you get this kind of pattern but this kind of pattern is what has made the brain what it is you know like the jet the the it's back to this question again about where is the transcendental engine you know if the transcendental engine is the neurological structure of the brain then you get one sort of outcome and you can say oh because of what our brains are like we get this kind of pattern and then it's peculiar to see it somewhere else but if it's

rather that the brain is itself a construct that comes out of a of an engineering process of a as a superior transcendental level in which these kind of power laws are basic components then then there's not such there's nothing particularly confusing about it is there it always rather the confusion is located somewhere else yeah exactly so investigating that law then becomes very interesting and useful yeah I don't I probably shouldn't digress down this line that you've opened up which is obviously really interesting in itself

about this relationship between numbers and archetypes I think I might be like going a little bit off our field but i i do think it's a maybe i hope we get an opportunity at some other time to to look into that i should try and check this reference who was the name of the rider again yeah i'll see if i can dig up that quote from young um i'll i'll send it later or put it in the sidebar later. Bye. okay thanks and as I look at that the whole piece of kind of economic

investigation going on in the cyber that I can't pretend to be totally following I have to try and pick up later Sorry, go ahead. Maybe if I just run back. Um, where

where the informatics school is very aligned with top-down to below processing and locking down. hey Adam I think we've lost you or at least I have so as is Adam unable to use

the sidebar too I think Adam's on it's like having some mobile right now so right it's like locking syndrome actually complete absence since we can't hear you that easily if you want to send me a message on Facebook I can paste it in here but right now we can hear nothing yeah though your ghost breaking in is pretty correct right yeah i know it is very light

actually I found what Chagas discovered terribly exciting so I just wanted to tell you to add on to the video because I'm not quite getting it unless you want to are you there? do you have talking ability? yeah I mean I'm just Yeah, I don't know what you're referring to, though, Jake, because I said, like, three different things. I might have just been, like, chaining them all together into one giant delusion. Okay, okay. Yeah, I was just kind of, I guess I was just for the first time engaging in QWERTY analysis, so now I know what that is,

and I was just sort of, like, making, like, random connections with the keyboard, and you guys were talking about the escape key, and then I was, like, thinking I had been looking at Alaska, and I was wondering why he used C instead of K, because like we were talking about with like typewriter before it's all on the same row Alaska's all all on the same row too so that was sort of weird I was like oh well what's that uh-huh yeah you know and then we were talking about escape and then escape is like geographically on the keyboard where Alaska is in the United States and then and then he was saying that there's water being always lost like this phenomena lost saliva and I mean I don't know what's being lost in Alaska but escape is what we're using to lose things on the keyboard so I was kind of making that connection and um and then you were talking somehow we ended up talking

about um the six being an icebreaker and then I remember what Jake was saying earlier about the QDPP double pincer thing and then I realized that it makes like a downwards pointing arrow and then the upwards pointing arrow on the six is directly above that and then Jake was saying that it makes this like the there's like this bracketing of this dead center of nothing yeah and then I was saying that it's like coffin shaped almost it's almost like this geometric figure and it is I don't know almost kind of reminds me like the end of Moby Dick for some reason too I thought that was interesting how at the end of that chapter it ends like Moby Dick ends it's just like the coffin bobbing up something like that yeah this is what the word free association was invented for I

I think. I don't know how many steps are there in that argument, each of which have to be... I think you can spell Queequeg on the top row, I think. Oh yeah? That was probably a decisive factor, wasn't it? I say okay. I'm still missing a lot though even if I can hang on to this or set of associations there This coffin this coffin step is one that I'm I'm not sure I'm holding on to it. Okay, so then yeah like the up arrow and the QDPP

Sort of forms the shit. It's almost sort of coffin shaped these two different brackets pointing in a different directions almost I mean it's it's close closely resembling a coffin I'm stretching it a little bit I'm not even questions and I'm supposed to be but you drove Jake into such a state of mass enthusiasm okay is are you on the coffin stage Jay I was pretty so I was just like thrown into a pre-coffin just by the fact that you've got this the up arrow is like this dead center graphically integrated upwards pointing like trying you know arrow thing these

four letters relative to which it is dead center form a similar shape but they lack their point and are like distributed and diagrammatic big versus small pointing in opposite directions it seems like another diagram of double articulation the coffin thing i didn't understand what the coffin shape was initially it just made me it threw me on to um like the shape of a cut the narrative shape of a katabasis like a journey in and out of hell from q to d to b to p which is just now we're totally in free association zone but is just while we're in absolutely responsible free association zone e of the r power on the sixth you think another again is V of the

up arrow on the same. Oh my god, you're right. I didn't even notice that. Shit. I'm just going to read this little section from Through the Gates of the Silver Key, which I think exacerbates this delirium. The smoke from the tripods increased and the crazy ticking of that coffin-shaped clock seemed to fall into bizarre patterns like the dots and dashes of some alien and exploitable telegraph message base right yes it has everything in it it's true so definitely I'm almost surprised it doesn't mention zip flaw actually given the set of references that we've had we could probably find the zip pattern in there

Yeah. Thank you.

I don't know if this will help or not, but in these types of ascents where normally we're pinned down, we're held down by rigor to keep the argument in some kind of logical progression. But when these ascents occur, it produces a kind of heady bolus of energy, and that can then be harvested with the double pincer thing, the next extraction of some type of

rigorous articulation I don't quite want to say theory because it's like this imminent kind of game or theory thing that we're talking but Kills a little bit of that headiness To say it like that. I mean, yeah, it's definitely possible to just like Have the just rats scampering crazily in all directions which yeah it's probably it's not entirely negative phenomenon that's for sure but I should just say when you when when you brander saying I'm not sure whether this is going to be helpful or not dot dot

it's like a dramatically like ominous little turn of phrase that I think yeah it's just my own uncertainty Yeah, so the rats then would be going To collect little pieces or something like that and then when they came back You would have to sacrifice a few of them a number of them, but then the remaining rats would Have some kind of useful information Yeah, yeah, that's right. Do you need it? You need a

Brutal rat selection mechanism at some point in the circuit Yeah, if you've got that you're okay Yes, I'll guess is really going into deep schizoid. I mean that I do like that captain a happy but at the same time I recognize that it begin belongs on a secure ward as well. So it's a is that it's that APA a be double pins there is not that we're supposed to be and this this is like what i was doing with the um what did i call them the cyber corns

from the last class Oh, sorry, what's what's that this oh the the schizoid? Direction the conversation is taken With those and there's also like kind of a split between the spoken in the sidebar Yes a little split unfortunately, I think they're converging They're converging on a plane of swirling vortical delirium that that is consistent across the whole Semiotic space as now Is that unfortunate? It's okay. I think I think if we can if we can We're at a point where

We don't have to avoid being carded off for very long now Yeah. For me, for example, when I said that the theory can be seen as being stored in the keyboard or it can be mined from the keyboard imminently as we discuss it and look at these details, then it completely opens up the playing field. And then you have to ask yourself, well, what do I want to look at next? Which part of the theory do I want to develop next? so it forces requires a choice in order to avoid more vertical motion yes no I

think that's it's totally it's totally right and trying to hold on to something that isn't swirling into chaos then becomes a kind of crucial a crucial requirement and so I mean I guess in a lot of sense I you know the predominant part of this course for me has been like as China produced life rafts so that when we get to this stage of the process we're not just you know thrown straight into the howling maelstrom without any chance of of recovery um but yeah we're now we're now on

the howling maelstrom uh part of things i mean what do people does anyone else want to uh chip in also for like theodore's asking about this kind of thing about the history of epistemology and it's obviously it's a really relevant question I think because we are in the history of critique of that I'm sort of extremely adamant that you know even the most delirious part of of

of the georgia morals it's it's got to where it is by following kind of strictly this critical it's not just simply importing some source of delirium from outside um and it and it comes entirely from this question about what is the transcendental plane and maybe in the early history of German idealism there's still some residual psychological image that tends to secure the the sort of rigorous philosophical notion of the

transcendental in a way that seems secure it seems that it's some kind of you know it's some kind of overmind it's some kind of superior psychological cognitive plane and it's obviously when things thoroughly materialized as you as you see happening in the geology of morals that that that last security is shown to have been a kind of legacy delusion that we're not at all talking about you know they're talking about the lobster god the the the notion of what it is that's like

anchoring the machine of cognitive production is no longer within a sort of set of psychological images that we that with which we can be be comfortable but I think that the actual critical process is completely rigorous that takes you from one to the other I still think this is really random, but I just asked this, I mean presumably some people

do because I just googled a copy of the geology of morals, but the copy that I downloaded has stop pause play buttons on every single one of the pages that are clickable but don't appear to do anything and it is anything that or find that really bizarre I don't know where that's come from that's very interesting yeah I know I do where that's coming from there's some interview with uh the theories where he's walked he walks through the history of philosophy and he characterizes

the history of philosophy as these certain characters and he says something like um leibnitz characterized like the philosopher is the lawyer who had to make a case and defend you know defend god right um and kant introduces this the uh the idea of the tribunal um which is critique as you're saying right yeah you so you're saying there's a consistency of legal legal metaphor yeah exactly yeah yeah yeah i think so I don't know whether any of you guys are familiar with Gillian Rose she was at my

she was at Boric during the time I was there and this for her was a huge thing that that that the relationship between the construction of philosophy and legal tradition was extremely intimate she was concerned and so the whole notion of the relationship between the the case and and the law you know these basic philosophical structures to do with the concrete and that particular and in fact I think um it's no exaggeration to say that for her philosophical conceptuality in general was all in this direct relationship to to the to law and the lack and the development of

law so I whether or not one buys into that it's definitely something that's striking and you can go a long way producing a kind of persuasive case of that for sure here let me just write her name Here's an issue which might be fruitful is it seems like an unspoken topic that you could articulate or one could articulate is what is permissible to talk about, for example, in this class. or what, you know, if we're looking at the analysis of the QWERTY keyboard, we've been talking about which parts are included.

Are we including, you know, the function keys? Are we including just the letters or also the numbers? Is it permissible to discuss, like, the letter B and the B key and Y key so that they're somehow related because I can draw a line through the physical gap between G and H to link Y and B diagonally? Is that a permissible move to make or not? So what's like the minimal thing we could talk about and then what is the effect of expanding that? I think it's partly a question of what's the full set of constructible methods, isn't it? So you do something like you just did,

with the Y and B key now is that something that you can you can then formalize as a sort of methodical principle that would start sort of accessing insight facts or is it something that is just you know that that dies out like a kind of a dying fish when it tries to sort of move beyond that particular case I think so I don't I don't know and I I just certainly obviously don't think that anyone is in a position to have a series of a priori constraints on what is or is not speculatively invisible I mean that seemed you know I don't know where that would come from at

all so I certainly hope it doesn't seem as if I'm trying to set some kind of constraint like that on things oh not at all not at all that's I was just opening that up as an object of observation to look at because there is even if even if you haven't of course you and you didn't put any kind of limit there's this automatic social sphere limit that we all place on ourselves and we're in something called a class so everyone is trying to the class has a topic so it's already polarized yeah I think so and I think it's important like it's not a lot on either side like you know it might sound like melodramatic but I honestly do think that at a certain point of you know

coercion analysis one is touching on these zones that just head deeply into psychotic thought processes you know bigger we're back to this thing about why do they talk about about schizophrenia you know when you are when you are reaching the plane of the transcendental cognitive engine then you are I think they're completely right you are you you are entering into a relationship with psychosis and so the it's inevitable that there's going to be a certain relation of caution about that I think it's not it's not ridiculous that one word certain sort of defensive reactions and and structures of caution

with would come along with that I think you're sure well what I think what I'm doing here is I'm proposing that as an object of inquiry it was something to mine for more quranomics insights because it's occurring in the conversation that these kind of ways more or less on topic and then identifying those things as more or less on on topic truly doing yes yeah I mean I would expect it to be embedded again if you if you're starting tentatively with the extreme economic hypothesis that would that would suggest that um

the processes are themselves a product of this kind of stratic apparatus and And as you find these lines of de-stratification, you obviously are sort of departing from these forms of ordered, socially functional, cognitive process into these much more delirialized, you know, these just wild particles of conception that hurtle about outside the strata. so so that whole the problematic as you're laying it out i think is something that is in a sense

folded into the actual machine that we're looking at you know and that machine runs it runs psychological stability as one pole of functional stratification and the alternative is something that you find as you approach the plane of consistency as you as you follows challenges path of his immobile voyage to the to the to the point where the machining assemblage just fuses onto the plane consistency and and it's totally destratified hide um the way i handle that uh and stay sane is with uh myth so like for example like the in the

last class i was trying to and i was you know these classes are usually in the middle of my sleep time so i'm usually kind of delirious already and zombified and so i was trying to understand all that historical stuff in class. And to do that, I made this cybernetic unicorns that China was producing, which were the micro-state islands and how they were going to like replicate and spread across the world. So I was creating this myth to understand the complex and more imminent detailed historical analysis. Yeah. So, and so what's the myth of QWERTY? Is there a myth of QWERTY that we can make a kind of, you know, complex, imagistic, numinous, intuitive story, which then is not imminent, is not here, but we can use to navigate?

Look, as we've seen, Anders, there's already this recognized QWERTY mythology, isn't there? so for India you know what um what as I I'm pretty sure I've already linked it but just let me send it again because it's so good where he says you know there are a few things that are surrounded with as much hearsay and rumors the origins of the QWERTY layout of yeah I practice and keyboard so that's that this is from this I thought was a pretty good little intro sorry I might have lost the HTTP there as people can see so but to the to the Yasuoca

thesis about the role of telegraphy and the production of quote me out so I so sorry I'm just recalling all that to say respond all question, an ethnography you know you're not you're not departing into wild stormy waters of speculation in the slightest to say that you're you're it's only when those you have successively stranger myths starting to to be gestated that i think one's getting into a more questionable

territory or whatever no questionable of course not being bad but being problematic problematic and requiring some explicit attention to security yeah that makes sense and that myth could be mined for scaffolding for and we already have been doing that yes it's true the dogon thing is obviously definitely a good example as people saying and you know just the fact that obviously it comes up in this thing doesn't it uh his friend

the dogons even the dogons so um just to give a heads up we're at um five minutes too and i sort about to leave untimed right sure totally so so thanks for setting this up yeah theodore this is great so and actually I'm glad it's been such it's I've enjoyed it a lot I was a bit worried that it was so soon after the last one everyone would just be cozy but actually everyone's been very barked out yeah

this is like my waking times right now so or my so yeah thanks everyone okay yeah so you're actually in your evening most people now so it's a it's a the inverse of the usual situation exactly so yeah get get a good night's sleep and and all of that stuff. OK, thanks, guys. Adios. And thanks, everyone, very much. Good night. Good night. I mean, yeah. Thanks. Yeah. Thanks, everyone.