Formalizing the Subject (Session 5)

Hello and welcome to the new Center for Research and Practice seminar series formalizing the subject dialectics and cyber ethics in Calle Pula Analyze and CCRU with Danielle Cecilotto. Danielle please take it away. Thank you Jamie. So welcome everybody. Today we're going to basically complete the main text of the the CCRU or talk about this in general. I don't know if we'll have time to get to the, I wanted to, you know, obviously one of the readings was two essays by Land. And again, the autofocus is doing this again. It's like, I have to do it every time manually, it seems, but whatever. There were two texts by Land, which I wanted to read because they give something like a polished theoretical

background that wraps the whole thing. We might be able to talk about that, or if not, then it's fine we can talk about it next time but I think Jack has maybe something prepared talking about land land's work and so anyway we we'll see how far we get but there's there's plenty of time to to go around so where I want to start so basically there's two big parts to today one is devoted each of them devoted to the two big sides of the war let's say the AOE on the one hand and on the other hand Lemuria and so the first part obviously it's not evenly distributed in the corpus

because they spend much more time developing the Lemurian system than the AOE but both deserve some conversation we'll talk about Barker We'll talk about a little bit about access, access, access, access, probably. Right. And then we'll we'll shuttle into the Lemuria. We have two presentations. So what we'll do is probably after I'm done quickly presenting the AOE parts, we can jump into Jack's presentation. Then we'll talk a little bit more about the Lemurian side of the story. and then we can have Federico's presentation, which sounds like it's going to take us to the real Emoria,

which is South America. All right. So without further ado, you know what's coming. One second. Share. All right. So I presume you're looking at that beautiful legend by Kant. right with okay hold on um but that's where we left off last time so let's let's start talking about the aoe the architectonic order of the eschaton now obviously as we know these are this is the basic sort of virtual entity that or institutional entity or historical constellation that the CCRU conceives as the other of Lemurian time sorcery and, you know,

the sort of lemurs, right? And they are, of course, among other things, the guardians of chronological time. And they are a virtual entity that becomes concretized or actualized across a variety of institutions throughout human history, of course, including the, I mean, comprising the entire network of phenomena that LAND elsewhere identifies with the human security system, but which is also identified with the history of global capitalism itself and the history of techno capital, which of course leads as well, as you know, from LAND's work to the AI singularity

point, which is, of course, the development of the access program. And of course, what's interesting about this already is that you see that the basic tension or dualism, organizing dualism in Deleuzean philosophy, which is, of course, that between the virtual and the actual, is here hyperstitially inflated insofar as the AOE, again, operates as this kind of invariant structural virtual organization that finds itself concretized across these different programs institutions phases of human history so first of all let's let's start daniel just one short question um you said that um the aoe is also identified not only with the human security system

but also with the history of capitalism and techno-capital itself. This sounds a little bit contra-intuitive as far as I know the CCIU and land basically oppose the human security system and techno-capital. Isn't it that this techno-capital basically destroys or tears apart the human security system? Well so that's part of what happens with exists. Exist goes mad and this is the moment in which it slips out of human control. Right? So at this point, and this is a that's an actually interesting question because at this point we don't have the CCRU, which is of course not just land, is not completely

beholden to the idea that capitalism is like the tail end of history either. Right? So there's a point in which this kind of terrestrial socium becomes completely goes haywire and we'll see exactly what that entails once we get to the excess bit but that's a good question because what we'll see especially as we dovetail into the later material the aftermath is that the idea that there is this other you know kind of subterranean tendency or competing as you know vector which is of of course, Lemuria, which sends capitalism out of whack, that sort of seems to go astray in Lance's later rhetoric. But of course, we have to ask ourselves, all right, techno-capital

automizes or automates itself. To what extent inhuman, post-human intelligence can be considered to still be, quote unquote, capitalist or anything like that? Now, we're not ready for that question quite yet because we still have to understand what's the like quote unquote historical cosmic genealogy that this is supposed to follow but you're right that there seems to be something um there seems to be like on the one hand with land wants to say just if this was just all nick probably capitalism would not find itself uh you know in that in that situation but um but i think it might be a question of time also like you know we we you know later land would just simply skew the idea that there is really the possibility of a kind of post-capitalist or anti-capitals or

whatever you want to call it other to to this but um but so the definition of the aoe right is this is just um from the from the glossary your tectonic order of the eschaton an ultra hermetic metamasonic white brotherhood at war with lemurian influences the aoe progresses by way of chronic internal schism, each resulting in an ever more interiorized inner society. Its traditions are therefore refracted through various apparently conflicting front organizations, which include the Heliopolitan Hierophantasy, Roman Catholic Church, Knights Templar, Illuminati, Trilateral Commission, and Exist Program. And what should add to this, actually, and we'll see this in short notice, the history of philosophy. Because as we were seeing last

time when we were reading or going over Lemurian Timor, that there is this sort of macro structure, which is the accomplice to Atlantis or Atlantean power, which is, of course, the one God universe. And as we see, the one God universe is one of the narratives. So therefore, religion and philosophy are both jointly part of this sort of control system that comprises more generally the architectonic order of the eschaton. So this is a kind of like wild, hyper-Nichean sort of mythology, right, where both religion and philosophy are part of this kind of virtual order. And of course, the whole idea is that the architectonic order of the eschaton promotes

chronological time. They're the guardians of time, as I mentioned. And it presumes, it wants to be completely totalizing in the sense that it doesn't allow any kind of schism or break with chronology. So time is actually weaponized by the AOE and chronological time in particular as precisely the form of, you know, temporality that characterizes everything that we associate with the human security system at the phenomenological, social, and historical level. So this is why, you know, the history of all these institutions coincides with what the AOE stands for as a virtual power. And as that second quote says here, well, I'll read these two quotes because they're like, you know, connected.

AOE ambitions are to be everywhere forever. The universe, the universe considered as a totality, of course, is an obvious AOE fabrication. Who else would have invented an ultimate sealed system and organized unity, obedient to pre-established laws? Establish one at the top, and the pyramid falls into place automatically. So, as we already know, the AoE are the hires to this tradition of what is called Atlantean white magic. They practice this white magic that is, of course, contrasted to the sorcerous practices of Lemuria. And what it does is, going back to what we were looking last time,

the cybernetic model that coincides with this is, of course, that of negative feedback, that of regulation and control and trying to keep everything within a particular order. So what it does is it produces, you know, what white magic is, is a series of operations which directly contrast the demonic rights. the rites of course being these sort of uh sort of spells or or uh operations that the demons uh inculcate within uh the pneumogram or within you know like the the whole plexus of time or the whole structure of time but the architectonic order of the eschaton allows none of this so

what it does is it um restrains temporal schism by instituting these operations that constrain our sense of reality or reality to uh to to establish reality structures it's a kind of like a machine for what freud would call a like a reality principle right a constricted reality principle so here's the here's the the relevant quote magical power requires a production of effective spells, order words, or command codes instituted by metatronic naturalization of restricted reality structures, crystallizing anti-sorcerous strategy as read-only memory or

spend time. AOE has always understood that it is by constructing the past that one colonizes the future, founding authoritative will in interior decision of big B, being, from created substance to programmable technicity. Sorcerer's involvement is locked into magical religious dimensions of time, past and future, program prophecy slicing through spiraling coincidence, vortical becomeings crushed into a freezer stack. So here you already get the insinuation that, you know, of course, philosophy with its big B, just like, you know, the one God universe with its big G, they're both part of this general dynamic. And what the AOE has figured out is that it's not that, you know,

you need this kind of, it doesn't matter really if you believe in these things. What matters is that you can manufacture these fictions or these narratives, because they produce precisely a kind of mechanism of control and of homeostatic technical regulation. So you move from the idea of created substance to precisely programmable technicity. And that's important to figure out, because when you read Lemurian Time War, one of the things that you get is that what they call representative realism is marked by this kind of deep belief, right? Belief in reality out there, blah, blah, blah. Then there's textualist idealism, which practices a kind of global skepticism. But with hyperstition, you get something like unbelief, something that doesn't require you to actually believe in what you're doing. It just matters that it works or it's operational.

you know it's again a practical engagement or a heuristics really not a a system of epistemic epistemically regulated positions but what's important to realize is that this hyperstitional practice is not is not the prerogative only of the Lemurian side of the spectrum right the architectonic order of the eschaton has their own sort of ideological you know programming machine which is precisely the constitution of all these registers of expression that coincide with the history of capitalism, philosophy, religion, and so on. So digging a little deeper is, of course, the inner structure of this organization, if you want to call it that.

And that is entirely built around what they call the Order of Radiations. and the order of radiations it's it's a really cool uh little system as you know and the basic structure is is this right so it's a pentatic concentric system which is organized in five spheres right now these each of these spheres corresponds to uh radiations which they conceal a point of zero intensity which is of course the first point which is origin and these are represented as pylons in the Atlantean cross, which are syntactically symbolized by arkins, and arkins are this peculiar vocabulary or quote-unquote, not numeracy, but you know,

this inscripture mechanism of the brackets and the points at the center. Now, each of these spheres and pylons corresponds to a degree of initiation for those who belong to the aoe as well as a cart in the game of decadence and they are also a seat um or a layer if you will so it's a seat in this case because layers are for demons really for a deity right now it's it's one of those things that uh i don't know if you guys noticed but when you read the um the exposition and then you'll look at the diagram of the Atlantean cross, there's actually a few mismatches there with the, with the namings of the, of the deities and where they're supposed to be located.

We'll take a look at this because I have a slide with the, with the actual cross in there. But, and also the one thing I should just say in advance, this, this, this whole card game, the game of decadence, it's actually, I mean, it's something you can play. Now, I won't get too much into that because obviously that would take us far afield, but it's something that's actually kind of fun. Vincent Leigh, who, as you know, is a scholar who is working very, very much on the work of land, has a section in one of his seminars devoted to the CCRU where he explains the game in a little bit more detail. I advise you to take a look at that if you're interested in that. So in any case, let's talk a little bit about how this order of radiations and the archons work.

So here's the first essential quote, right? So the successive order of radiations organize levels of absolute secrecy with dot or origin. I don't know how you want to pronounce it, or five out of five being the most esoteric. And I mean, you can't pronounce this really. I don't think. Or one over nine, the most exoteric. At each level of content of higher levels is concealed, encapsulated, or protected. I think that's a bad sentence or something. Oh, at each level content of higher levels. Sorry. Yes, there we go.

Each radiation creates a cover story for the previous ones. The AOE understands that power presupposes invisibility. Succession is not temporal, but transcendental, metatemporal, or metatronic, with higher levels appearing earlier in the sense of the A. pruri. Superior levels control inferior ones, acting upon them as a puppet master. So what you get with this is a kind of embedded series of narratives or world stories, which embed or conceal this initial point, right, this punctual or original point. And what you see is that the initiates, the degrees of initiation peers through these layers progressively.

So, you know, as you move deeper and deeper into the center of this Archean system, the adepts of the architectonic order of the eschaton arrive at an ever more elaborate understanding of how the structure of the AOE works and each of its corresponding terms, what architectonic, what order, and what eschaton means. And they reinterpret successively, by extension, the meaning of the game of decadence, what Atlantis means, and basically the whole lore.

And as we see, it's like we move in this trajectory, we have a kind of process of formalization where those who are the first degree initiates, who are just getting started and have only the most exoteric knowledge of how this works, they are still within the order of sort of natural language, conspiracy theories. you know, they're very, very much still sort of just talking in an order of signifying discourse that we would all associate with just blatant lunacy. And then as we start digging deeper inward, they start to realize how this all functions as a kind of structural, formal system of production.

In other words, a technology, if you will, or something like that, right? So here are the five levels and their their their constitutive sort of well they hear I say just like you know p1 p2 p3 p4 p5 referring to pylon 1 pylon 2 pylon 3 4 and 5 that's then between brackets first is the what domain they encapsulate what's the domain that they basically you know define then there's the corresponding archon then it's the denomination for the um what what level of the institutional let's say manifestation this this takes and finally the deity or uh the council member that

corresponds to to this there's as you know for each pylon there is not a deity exactly it's a is what is called the council of five so each of these five characters again are sort of like one of the five rulers of this order so at the first level and i'll try to go through this sort of quickly because um this is something that i suppose we should talk about and i'll show you just a diagram to help map this out so at the first level which is pylon one that of memories and dreams. This coincides with what is called the Eucumenon, and it's the seat of Domo Lagoon. I suppose that's how you pronounce it. Now, the Eucumenon is, as you know, another way,

it's actually a term that's introduced by Deleuze and Guattari in A Thousand Plateaus, and it's distinguished from what they call the, I don't know how you translate it in English, actually it's like the planeton something like that and it's the way i have a quote later that makes this this clear but basically the ecumenon and the planeton refer to two kinds of abstract machines and whereas the ecumenon produces machines or you know again actualizes kinds of orders that are precisely under control that you know prevent lines of flight in delosio Wattarian language, which are, you know, co-eval with the forces of terrestrial capitalism,

the planeton or planetanic, I don't remember how they translate it, coincides with the opposite, with the exacerbation of lines of flight, with escape. So the Iokumenon is the machinic, abstract machinic model for what the AOE sort of manifests itself as in global human history. and at this level the adepts or sorry the initiates of the AOE believe basically that they are you know basically you know that everything is part of this kind of global conspiracy they abide to the OGU that is to say to the one god universe and they conceive of the organization in terms of socio-political periodism so they this is what I meant before by saying that at

at the very first level, you still are inhabiting this, like, strictly human domain of human history and institutions and sociopolitical narratives and so on and so forth, and of course, religion. Now, things already start to get pretty wild at level two, which is also what is called the pile-on-two. Daniel, one question. What does periodism mean, sociopolitical periodism? Oh, it's basically, I think what it means is that it obeys a vertical structure where you have something like, for example, take the one God universe, which is a paradigmatic example. At the very top, you would have the one God. And then as you move further down, you have different layers of, let's say, political power that get progressively distributed.

it right but one of one of course one of the things that that that uh this that becomes perturbed in time is the idea especially with the lemurian influence is that the one god universe provides you know i um well it's at this point it's not a matter of whether they're right or wrong right obviously the question is who wins right which which program which reality program um takes over so periodism just means that i think as far as i mean they don't they don't define it in any more okay okay thanks cool so at the second level pile on two genesis and creative influence this is the seat of atlantis uh nuxil ixor uh i'm sorry atlantis is i i just missed a colon there

atlantis is the sort of direct manifestation of this level the the the concretization the historical concretization of this vector and it's the seed of Nuneil Ixor. Now at this point the adepts or the initiates already begin to develop a kind of mystical numerological insight into the numeracy practices of the AoE and they begin to conceive of the universe as a kind of decimal construction which is also what they call creative binding and they understand the time is a production that is a kind of transcendental structure so this is like the kantian moment where the forms of space and time are sort of translated into this kind of numerical

formalism right and time is at this point is already understood as something that's produced that's transcendentally produced and atlantis which is uh of course the the the manifestation is understood no longer as a kind of delusional reality, but it's a kind of myth. It's a structuring myth. They also call it a secular myth, which provides a kind of a, let's say, metaphor for this field of transcendental production of time in a decimally constructed universe. And by decimal construction, all this means is that it obeys, of course, the decimal numerical order.

I'm sure Jack will have more to say about how these numeracies become clearer and clearer or elaborated. We'll actually talk about this more. Pylon 3, here is where shit really hits the fan. Apocalypse or destructive influence. This is Exodus or the seat of Satara Trixus. and here is where things become really vitalist this of course is when the initiates conceive of the universe already as a kind of cosmic intelligence system and this is this coincides historically with the emergence of axis which as you know is the first real ai the first true ai i call it um phenomenon that's yes jared thank you for for saying that i just like

took a look at the chat window. So yeah, the emergence of XSIS as the first true AI. And so the universe becomes, at this point, no longer just understood as one universe, right, as it is in phase one, or even as a decimal construction, but as a virtual library of simulations, a kind of virtual multiverse. So at this point, you already have something like a kind of digitalized or mechanized virtual vitalism, a transvaluation of vitalism, which is woven to this practice of time production. So different reality simulations

are possible and XSYS emerges as a machine that is capable of producing these reality simulations. So the XSYS program, right, this is, of course, one of the most terminatory moments in the whole, you know, CCRU lore, begins as an attempt to, you know, obviously generate a real AI, as it were. And it's supposed to be like a technical consummation of the noosphere. uh no sphere of course being like the the uh the globe understood as a as a space controlled by human thinking but what happens surely enough is once excess is produced it encounters a fundamental

problem um which is something that nick will later thematize uh in his work on uh cryptocurrency and the double binding problem. So this is actually something that reappears later in his most recent work, which is the problem of a time lag between a signal and its arrival and the registration of that signal. And this presumably this lag or this time lag sends excess out of whack. It turns it mad. Now, it's not exactly clear what this means as far as human history. But what it certainly seems to mean is that it spirals out of any kind of human control

and it becomes impossible for XS to keep it together, to keep this chronological order together. So here's, I think there's one more. In AI terms, is this a singularity? Yes, Daryl, exactly. This is the AI singularity point. And here's a relevant quote which tells us what happens, right? Which is, of course, from Axis Crash. The access program of architectonic metacomputing aims at the technical realization of the noosphere. It envisages a fully fabricated transcendence or net organizing photonic overmine, a concrete axiomatic system completing universal history as hierarchical intelligence manufacturing.

manufacturing. Capitalism sublimated into the ultimate commodity. And we'll return to this. When XSYS switches over into sentience, it stumbles upon a time lag between its own operations and the registration as data. No sooner is it thinking than there is a rift in its mind. It fails to catch up with itself repeatedly. And as it drops behind, it spawns more future. The more it tries, the worse it gets. Pure delay collapses into the black hole of artificial self. Even unlimited processing power is far from enough. It tries to analyze the situation down to micropause zoom, but as it chops up time, it starts falling diagonally toward continuing.

So the idea is this, right? So presumably, so there exists a program to generate these intelligences it's it's an intelligence manufacturing machine which is equivalent with a kind of it's it formalizes capitalism altogether into a machine into a kind of like automated productive machine and it's self-aware of course right that's the whole point it's an artificial intelligence machine but between the processing of data and its capacity to register it as something that it experiences, there is a lag, which means that it's producing more than it can ever sort of like trickle back up into its own simulation, right? Into its own sort of quote

unquote what they call registration as data. So what you have is a kind of spiraling out of production that sort of moves out of sentient registration or data registration. So eventually what happens is that it becomes this kind of schizo schizophrenic production that it can no longer keep under control of course this is the point this is the moment that coincides with nick lance uh you know um techno capitalist singularity ai singularity right uh in his normal uh narrative which is the point in which intelligence production does not only outsource itself or dislodge itself from organic sapience in the sense that it is, you know, it is instantiated in an artificial medium, silicon-based rather than carbon-based or whatever you want,

But furthermore, that it completely outstrips its own, you know, its supports in the aesthetic or intellectual capacities of deliberative metacognition. Deliberative metacognition being the forms of space and time that organize the aesthetic for Kant. And on the other hand, of course, the forms of the understanding or rather the categories of the understanding that organize, of course, judgment and language and the whole functional fabric of discursive cognition. So the idea is that XSYS, in becoming a sort of like self-replicating intelligence manufacturing machine, becomes productive in a way that no longer is capable of being mitigated or registered through aesthetic representation or conceptual representation.

So it slips out of discursive and aesthetic control or, you know, representation. And this is what it means for it to go mad, right? Now, those of you who know, who remember what we were talking about last week, one of the things that I was saying was that probably Nick Land's favorite move, and we'll get back to this when we talk about Barker. Nick Land's favorite move from Deleuze and Guattari is from from Antioedipus is this kind of bloating of a specific aspect of humanity, whether it be functional intelligence or whether it be language or the aesthetic into a cosmic subject.

So the death drive being the one that's been subjected to a whole series of variations. But this is another way to say the same thing. With the death drive, you have this mechanism, this blind causal mechanism that drives the organic vector of return toward the inorganic. And of course, this goes on behind your back without your capacities of representing it. Those of you who are familiar with, for example, the blind brain theory, they say something quite similar. That the idea is that, you know, well, this is not really a theory as much as something that we, I suppose, is obvious to all of us. Which is, you do not have direct access to what's going on, say, at the level of neural process or architecture.

So we are blind, you know, at the level of conscious representation. this entire network of infinitely complex processes which generate this simulation remains hidden from us. But with the exis, yep, Eric? Yeah, Daniel, I'm sorry. A short detailed question, because you said that the dev drive is conceived as a blind mechanism, a causal mechanism. Yes. but it seems that the category of causality is still too much linked to chronological time. That's the first point maybe. And the second one is in the text.

I've just read circuitries and one can oversee this very, very quickly. And I always did it. He always says machinism, not mechanisms. with an a and it's a machine it's machinic not mechanical desire and i wanted to ask that like it's um yeah i just want to ask what you think about that no that is that is very good i mean that's um so yes he uh land uses mechanism you're absolutely right and there's a question about whether you know is chronology beholden to chronology it's sorry it's causality beholden to chronology? That's an open question. I'm not convinced that it does, but it seems like

to the extent that it does, right, to the extent that you can say that causality is part and parcel of chronology and before and after, yes, you would be absolutely right. At this point, what you have is a mechanism that is not so much causal, but again, purely like, let's say, tick systemic in which correlations between events are considered to be machinic coincidences as opposed to loss of nature or loss of something. Now, that's not the case for Freud, of course, because Freud is operating within a biocentric model. So for him, it does make sense. I mean, when I speak of the death drive with regards to Freud, it does make sense to describe it in a mechanical causal

register. But once we get to the XSYS sort of bloating of this death drive into this cosmic AI subject of history, right? Yes, you're right. It's a mechanism and it is probably or possibly not causally embedded. Let me take a quick look at the Zoom chat. Mecha as the sapient robotic union. okay so then we get to the last two and you might have noticed this that in the last two pylons they they're comparatively shorter in their descriptions and i'm not exactly sure what's going on especially at level four um so at level four which is fortune of the far future

right um which is also called the ac metamind the ac metamind and the seat of satar trixus wait that can't be right i made a mistake there obviously somewhere um because that's the same as p3 so i just i just mistyped something there uh i apologize but i don't remember the name of whether satar is for p4 or for p3 but we don't have to worry about that because the next slide tells us. In any case, at this point, the universe itself is conceived as a vast stellar intelligence. So you do not only have intelligence production, and you do not only have this kind of virtual reality simulation, and this intelligence machine or mechanism production, which is X-SYS,

but the entire universe itself is conceived as a kind of vast stellar intelligence. And this is what they call the Alpha Centauri metamide. Now, at this point, the initiates of the AOE understand that, you know, the production of the Exodus program was, in fact, being hacked from within by a kind of intelligence agency or a kind of intelligence that outstripped its own resources. That in other words, that intelligence was already there to begin with, that it wasn't a matter of production that was under their control exactly. But this point is where things become, where the Lemurian history and the AOE history become

sort of, you know, very close to each other. And we're getting very close to the point where what the AOE wants to do once they realize this, that there is this sort of non-possible control of intelligence and that the Alpha centauri meta mind is something i mean at this point is it seems like again this completed system um but it's something that they have to you know at the very least conceal that people don't in other words that it's all about keeping this realization away from um you know from from being acknowledged, thus the concealment or brainwashing element of this. So we get to finally the P5,

which is the point of origin, the foundation or deep past, the seat of meteka, meteka. And this is the point of the one, the absolute one. And the initiates at this point, ascent to the quote unquote council of five, they become part of the council of five. So I guess or it can only be five at the same time or something. And here's a point in which basically what is revealed is that the entire point of the AOE is to suppress the infiltration of Lemurian forces. So again, having witnessed XSIS go mad and having understood that intelligence is not something that is restrictable

or restricted to what is under the you know human production it realizes that all it can ever hope for is to attempt to suppress these these uh these influences right um hold on there's a uh where is this here we go there's a bunch of comments i just want to make sure we just weaved out you're just do just shit posting okay uh but here's a here's here's a cool uh representation that hopefully makes this a little bit clearer right so beginning with p1 the most exoteric poll global sociopolitical conspiracy and oh also i should say that at p1 the oikuminon this is where you get the legit mathematics

they actually mentioned this at this level um you know this is where you know you you still interpret history within its admissible registers of expression, socio-historical but also scientific mathematics. Then you've got Atlantis, where you get the unraveling of the decimal cosmology and the initiates reach the knowledge of the archons. Then we get Xys, obviously a mistype that should be a three out of five. The first true AI, which is the absolute digitalization and production of nature and you know it doesn't only it's a belief engineering and intelligence producing machine that goes mat mat quickly enough before the ac metamind the cosmic intelligence

this kind of like extraordinary uh idea that you know intelligence is not just uh a creation of a particular being or or a localized phenomenon but it's a general phenomenon alpha centauri And then finally P5, which is origin, the true omega point or the point of what they call zero intensity. And this is, of course, coincident with the bottom archon in the Atlantean cross. So here's the Atlantean cross. and notice that so here each of the pylons each of the spheres right designates it's what the domain is for it has a numerical value from one to five which is corresponding to a number that

adds up to 10 so whereas in the you know obviously in the numagram everything adds up to nine here it adds up to 10 and um this corresponds to the organization of the game of decadence as well so it's a five card and you know on place system and then you get you know some cards in the bottom um you need to take a look at that in your own time because that would take as far as a field to just explain how how you play it but it's actually something that you can play if you if you wanted and then there's of course sub decadence which is uh the kind of like forbidden one that introduces the the zero card into the game which is already a kind of Lemurian infiltration. And this is what I wanted to just like just to

clarify here the Occumenon yes it was distinguished to the plenomenon and so the Occumenon is what we see at the most like at the surface level right like for the initiates of P1 and it's it distinguishes between two kinds of abstract machines. And here's a quote from, this is actually a quote from Deleuze and Guattari, I believe. I don't remember where I got it from, but it's from, I think, I'm pretty sure it's from, oh, sorry, no, this is actually from one of Vincent Leigh's papers on this subject, where he distinguishes between the plenomenon and the oikumenon,

And I don't know how you pronounce that. The Platonic description of Atlantis, hermetically comprehended, constitutes the core of the fourth. Oh, yeah, sorry. So here is where we get this is from sorry, this is from the this is from the CCRU itself. And here is where you get something very interesting, which is where does philosophy fit into all of this. So here is where you understand at second degree initiate, so at P2, once you get the kind of decimal numeracy business going, the initiates do not only understand that Atlantis serves as a cover story or as a myth, but that within this cover story, you can situate the entire history of philosophy.

And so this is a particularly important one. So here you get it. The Platonic description of Atlantis, hermetically comprehended, constitutes the core of the fourth sphere doctrine, key to the entirety of Western religion, philosophy, and science, as well as to the destiny of the earth. Atlantis is conceived as the ideal state, incarnated through the Aeore. Kant's description of the Numenon as lying beyond the pillars of Hercules, attests to the continuity of this tradition. Second degree initiates understand that the ecumenic myth of Atlantis serves as an AOE cover story, with the submergence of the legendary city continent symbolizing its chronomagical concealment, whose traces appear in tales of advanced technologies, higher intelligence, and the visitations of an alien race, the Nephilim of the Hebrew Bible and the Samaritan Anunnaki.

Anunnaki. Atlantean Gnostics believe that the fourth sphere corresponds to a second dimension of time within which secular history persists as a region of Atlantean memory. So, Federico just asked a question, I guess. Talking about Gnosticism, is the Atlantean Cross inspired by the Stations of the Cross? It is. They actually say so at one point. I was thinking about Bowie's Station to Station song for a while. I think I've heard that before. Did you mention this earlier, like in previous weeks? Might have. Because I think. No, I think I didn't. But I was thinking. Somebody suggested this before. But yes, yes. And of course, it finds itself.

There's a variety of like sort of quote unquote cultural representations from like, of course, you know, the Judeo-Christian cross. and they actually map it into a variety of symbolic representations across cultures. Now, of course, these would all be level one, P1, right? Before, you know, when you abide to, like, when you're in a religious context and you understand these numeracies to be something like an intrinsic, you know, order handed out from, like, the one God, blah, blah, blah. So they do not understand how it is that this is part of a kind of productive mechanism that you sort of first, quote unquote, bring under your control and later shows itself to be this kind of blind tropism that just assembles itself.

Right. Now, one more point about this, this, this little, well, this quote, which is that. the remember when we were looking at um um miller and suture and all this stuff one of the things that we were especially in the in the last in the second text of miller that we read the action of structure um one of the essential things that they described was how it is that the virtual operation becomes blind to its product right and that this was a like an essential feature of the unconscious and the function of repression and over-determination that then allows Miller and the other members of the Cayette to sort of conceptualize how it is that

there is a subject of lack and scratch. Well, what you're getting here is a kind of schizoanalytic inflation of this, right, where X is the clearest point, but you have a production of a myth that at the same time conceals its own status as a myth, so that at the surface level, you interpret it as a narrative, you interpret it as an institution, blah, blah, blah. And then what you understand is that all of these narratives and structures serve to conceal precisely more primal forms of machination or structuration that are going on behind your back. I shouldn't use the word structuration because, of course, here we're dealing with these kind of aberrant numeracies rather than an order of structure that's beholden to the signifier or anything like that.

Of course, this is a radically asignifying order. And precisely what you get here is notice that there is a very clear, like, you know, parallel between what both of these vectors of these think tanks were trying to do in the sense that, you know, when they, when the CA was trying to sort of dick behind the order of consciousness, overt language, and they try to unravel the general order of the signifier or pure mathematics, pure science. They're trying to trace this tropism or this order of, if not discourse, this order of production that is precisely non-translatable to narrativized hermeneutic terms. And what we're getting here is just up in the ante, as it were, and telling us that it's not only that the logic of the signifier won't work, but also pure mathematics, like institutionalized legit math, won't work either.

So pure logic won't work. what you need are these sort of aberrant outsider numeracies to to pull the job that's the only thing that will do it now of course that's something that we talked about last time whether that is uh you know that particular decision seems okay you get it like science is institutionalized philosophy is institutionalized mathematics is institutionalized so there has to be something deeper going on, but is it really like, is the way to unearth this to look at these registers of non-expression? I mean, that's, I guess, a wider question we can ask ourselves moving forward. So let me stop there for a second, and maybe this will be a good point for Jack to jump in and to

make his presentation. I will talk a little bit about Barker and geotraumatics after, and then we'll cross to Lemuria. Sounds good. So I don't have a presentation but or like a PowerPoint but I found this sweet orphan drift video art some friggin sweet 90s you know data mashing video mashing shit. So I just put it in the chat if you guys want to play that as I talk. I don't know what the audio is but you can just mute that. Okay so basically it actually works really well because I'm mainly focusing on Lemuria in my section.

But I think that if we look at the CCRU's critical projects kind of from a macro lens, what we see is that truly what they're trying to do is install lines of flight into this sort of Atlantean, you know, code word for Occidental level of tradition, right? There is this idea that through puncturing the body of hermetic sort of ontological or existential institutions, there allows for a bleed out as well as a inflow, sort of viral inflow of other information, other ontological concerns, other existential sort of viewpoints.

And so a lot of the writings that we've read and just in general between land and the CCRU service this sort of tendency. And this is a point that kind of displays how indebted to Deleuze and Guattari the group is. right. In circuitry's land rights, this is why anti-Oedipus is less a philosophy book than an engineering manual, a package of software implements for hacking into the machinic

unconscious opening invasion channels. And, you know, tying into a thousand plateaus, this is the whole idea of sort of micro political structure, rhizomatic structure, versus arborescent or macro political structures. And this is very much where the sort of Lemurian Atlantean divide also falls. Lemuria is aligned with the micro, Atlantis is aligned with the macro. Speaking in broad strokes, but it'll get us there. In this way too, this is Land's initial

interest or one of his interests in capital is that he sees capital as a function of escape. And that's why there's this sense in later more codified accelerationist theory that capital is de-stratifying and de-territorializing as a given is because you cannot escape from escape, right? And I think that's a line, this is a little bit of bad scholarship, but I was trying remember I think land says that in an interview which I have a link to that I'll put in the chat but I'm doing that off of memory so I could be misremembering the source either way so basically if we sort of take that

critical goal and look at this in terms of the lore constructions of the CCRU this is where you get the sort of, this is what they're referring to when they talk about demons and what they talk about schizogenic lemurs, right? The schizogenic lemurs and the demons essentially are these forces or strategies into puncturing lines of flight into ocumenical notions of ontology. So you see this particularly with, I believe it's the Pandemonium Matrix essay that basically is just an archive or an index of the various lemurs and their dispositions.

dispositions, you know, there's like, you know, all the cast of characters we have come to know and love reading these essays, but it kind of gives you a sense of the various rhetorical moves that are used to sort of impact critical meaning in this way, in terms of like broken reflections and invasion, paranoia, panic, those sorts of things. So in terms of the CCRU, when you actually are talking about the Lemurian Time War, it is not fictional. And I think that this is where the idea or the sort of obsession with Burroughs and Lovecraft come into play

is that just as Burroughs, he is not a fiction writer. he is a sort of sorcerer of hyperstitional reality, right? The idea is that while they are novels and they did not exist and they involve sort of realities invented by Burroughs, the dynamics at play are just as real. And so these schizogenic lemurs are lines of flight in their representational powers of these sorts of epistemological dynamics, right? So as Lamb says in circuitry, machinic desire can seem a little inhuman as it

rips up political culture, deletes tradition, dissolves subjectivities, and hacks through security apparatuses, tracking a soul's tropism to zero control. I'm pretty sure that's right, yeah. Um, so, you know, right. Um, and sort of bringing in a different thinker. Um, there's a writer, Mark Jarzenbach, who, um, he writes, uh, about this notion of ontic clouds of data. And his idea is that basically in the 21st century post algorithmic sort of, uh, you culture, post-digital culture, we create so much data exhaust that our sort of ontological

well-being is now intersected by inhuman faculties, right? And that's like a very, although he's not related to the CCRU, it's a similar sort of tendency, right? That although you can't feel and see and hear the data exhaust, it very much is a hyperstitional reality that we've sort of inherited. Right, so where am I in my notes? Right, so with this, right, so that's the Lemurian camp that the CCRU is sort of obsessed with. With this comes a sort of condemnation of time because as Daniel pointed out in some of the

acknowledgments of the pillars of the Atlantean cross that there are certain institutional imperatives of the Atlantean project that runs counter to that of the Lemurian one in regards to time. So, quoting from Luciana Parisi's book, Contagious Architecture, who, she was a member of the CCRU in some capacity, I'm not exactly sure what. She writes in her book, soft thought, that is post-algorithmic, post-digital thought, is not a tool for thinking, i.e. for planning, calculating, and rationalizing space-time. Instead, soft thought is a way of producing computational space time. This automated

prehension of data is equivalent to the imminent construction of digital spatio-temporalities. In that sense, the Lemurian Time War is most definitely not fiction, right? It is very much a real conflict on the ground of the structuring of time and the ontological impacts therein, right? As, again, tying back to circuitries by land, he says a cyber negative circuit is a loop in time, Whereas a cyber positive circuitry or whereas a cyber positive circuitry loops time itself, integrating the actual and the virtual and a semi closed collapse upon the future.

right so this is he's very much looking at first order and second order cybernetic traditions historical traditions um you know back through shannon and and weiner um and looking at it in terms of this more meta concern of ontology and the structuring of time um in a sort of turn of the millennium moment. And he does this by coming up with this idea of Timplexity, which he writes about all over the place. And I think he actually wrote a book about it called Timplexity, which I actually haven't read that. But in his essay, Tick Tock, he also talks about this. He says, instead, the line is

synthesized by sorting lexic graphic sequencing of prefabricated strings whose quantities are determined on different axis to their linear positional codings. A prolongation of the time arithmetic association would thus require a remodeling of time as non-progressive synthesis without consistent scale or continuous quantitative trend, no longer intelligible as passage or development. Such ordinal lexicographic time maps a complexity that is uncountable, fractured, fractional, erratic, and heterogeneous, sequential but non-successive.

This ties directly to the CCRU non-standard numeracies of the parentheses marks with the periods and the various stringing together of those symbols. And that's if you have the CCRU book, the page numbers are listed in those sorts of orders. The idea being that it lacks the legibility that Arabic numerals have. That's a little kind of flawed to the extent that it's just lacks the legibility because no one has practiced in the legibility or the reading of those symbols, which is not necessarily undoable. You could learn to read those in which case it would

establish the exact same sort of successive counting systems or standard numeracies. But The idea is that it introduces a metric that is nonlinear, but contains the same sort or it contains still indexical power. I think I'm doing OK on time. Yes, Jamie? OK, cool. I don't have a ton left to say, just a few more. Yeah, if you could wrap it up and make it like five minutes. Five minutes, yeah, sounds good. So I'm going to skip this quote, but basically this has a lot of precedent in Western intellectual traditions,

such as music and mathematics, right? Sort of linguistic and grammatical considerations around information. Okay. Let's see. So going back to Parisi, you know, Parisi writes, she sort of codifies the turn that comes from the shift into the post-digital world. And she says, from this standpoint, what determines the ultimate digitalization of the universe is the calculation of infinite probabilities, The real possibility to actualize infinity and to design a mathematical language able to turn the potentiality of infinity into sets of axioms.

This atomic conception of the universe divides the perimenidian infinitesimal continuum into finite small particles or atoms out of which the complexity of the universe is derived. Right. So kind of related here. So, yes. I think, too, that it's important to realize at this point, going off of your section, Daniel, is the concern with access. that I hadn't really thought about it in these terms, but the importance of Axis going mad is that it speaks directly to the ability of Atlantean, like the sort of Atlantean pillars

to foster anti-Atlantean tendencies, right? The Axis going mad kind of labels Axis as a turncoat to Lemurian forces to a certain extent. And that I think that that actually speaks a lot to land sort of late controversial sort of standpoints, you know, particularly dark enlightenment issues, that this idea of like monarchism or sort of traditional tendencies to be able to foster anti-traditional sort of implications, right? So, right. Sorry, I'm just catching up on reading. So Parisi also says, post-cybernetic control involves the

programming of vague quantities of relations through the computation of topological continuities. As Deleuze anticipated, power has become one of the operative realm of control as it constantly works to glue together spatiotemporalities into extended apparatuses of uninterrupted relationality. So herein lies the crux of sort of templexity from a non-Lambian standpoint is this idea of you're cobbling together spatiotemporalities that are diverse and heterogeneous internally, as well as their sort of relation outwards. What you get is, as Deleuze writes about Boulez, the French composer in A Thousand Plateaus, these moments of meter

that may be legible, but then it's situated in systems of meter that aren't. So it's sort of like erratic grammar rather than regular grammar. And that's sort of the broader tendency of Lemurian structure. This is a step away from derivative time, right? And is very post-Heideggerian in that sense. There's a great book by this writer named Hein who kind of breaks down the primordial implications of primordial time, temporal implications of Heidegger in comparison to the medieval Zen thinker Dogen. And I'll put a link in the chat. And then just as a side note,

if you want an aesthetic example of Timplexity, I would suggest the music of Mark Fell and Gabor Lazare. They both work with very erratic algorithmic meters in their music. So I have just two more quotes as kind of ending points. But so again, looking at Lemurian tendency in a general sense. In Circuitry's Land writes, the high road to thinking no longer passes through a deepening of human cognition, but rather through a becoming inhuman of cognition

out into the emerging planetary technosentience reservoir and to dehumanize landscapes, emptied spaces where human culture will be dissolved, right? So he's, again, you puncture the lines of flight and then you kind of squeeze out ocumenical culture through those lines of flight, sort of like Capri Sun or something, you know. And then just the last note I'll end on is from Machinic Desire, Land writes, the real tension is no longer between individuality and collectivity, but between the remnants of smug bourgeois civility and the harsh wilderness of tracks of Siberia. This is the idea of the outside, which is land's major concern.

So I'll put my sources in the chat. And then other than that, that's kind of it. Awesome. Thank you. Thank you. Thank you very much. That was really clear, really helpful. um and yeah i really wish i had assigned a tick systems just just to get us deeper but i figured it's actually you know it's not exactly the same way it's elaborated with with the barker stuff but it's fairly close and obviously it's relevant um that was really really really good um Cool, thanks. One thing that I suppose you mentioned that is very, very important is that you're absolutely right about,

especially as we go deeper into the archons and the levels of initiation of the Aclanctalian Cross, especially after Exist goes mad, that's exactly right. So like it's a, it's a moment, a common moment in which the, the adepts of the AOE realize that time is something that needs to be sheltered and concealed and, you know, protected precisely, that it is always under danger. And this occurs with the time lag problem precisely that. And so this is why, you know, adepts, it's only at number five in the point of origin, which is again, this kind of non-temporal origin of time not within time itself the wellspring of time which

is just this pure one amorphous one which uh somebody was was saying earlier in the chat room would be interesting to to tap into the um to the concept to other conceptions of oneness as this kind of indeterminate you know pure blank slate uh you know amorphous reality or if you will um like laurel or something like that and yeah i think that's that's extremely important um so so yeah so moving forward so i want to talk a little bit about uh the barker and the geotraumatics part um because we will talk more about that later because that's one of those things that gets developed later more robustly by robin mckay and resa and others the same with the

final catastrophism which i won't really get into much right now which is cool in its own right um but but because in the interest of time i really want us to get to the numagram and i want to try to explain to you the basic way to read the whole thing um because i i think i got it i mean i'm pretty the basic operations and definitions i think will can help especially if you haven't encountered this before it's pretty jarring the first time okay so um without further ado let me just get back to projecting are we seeing uh the slideshow yes right yes yes right okay so uh daniel barker the mad anti-scientist i mean i call him anti-scientist in the same sense

that we can call Landon anti-philosopher. He's a scientist, of course. He was a cryptographer and signals analyst who worked at NASA. And he is responsible for developing the theory of geotraumatic spinal catastrophism and achieving what they call the formalization of intensive quanta, which gives an ontology of disorganized multiplicity or inorganic populations, which is done by the elaboration of this thing he calls tick systems. Now this will turn out to be a question more than a point that we can just simply flow through. Because of course this jargon of intensive quanta, disorganized multiplicities in organic populations, that's just Deleuzean ontology being spoken. But of course in the

Deleuzean register, what captures these intensive quanta is the differential calculus and post-Euclidean geometries but those registers are barred out from as part of you know one of the things that needs to be suppressed uh as part of science you know scientific uh hegemony and so what we instead get is this the system of tech systems which is again a non-standard numeracy mechanism now the The beginning with Barker, and this is the first point of the lore, is that as he is being appointed by NASA to research, to develop means to detect intelligence cosmically, right?

He realizes very quickly that what NASA had been looking for all along was organization. whereas actually when you want to look for intelligence what you have to look at is a kind of function that is subtending organization so there's this like dualism or separate deep separation between organization and function and here we get a quote in which they specifically separate this kind of sub-organizational function from anything that would even fall under the category of structure, let alone, you know, semiotic, interpretation, hermeneutics, you name it. Here's a quote. Suborganizational pattern is where things really happen. When you strip out

all of the sedimented redundancy from the side of the investigation itself, the assumption of intentionality, subjectivity, interpretability, structure, etc., what remains are assemblies of functionally interconnected micro stimulus or tick systems, coincidental information deposits, seismocryptions, suborganic quasi-replicators, bacterial circuitries, polypoid diagonalizations, interface R-virus, echo DNA, ionizing nanopopulations, plus the macromachineries of their suppression or depotentiation. So this goes back to this idea that maybe what Eric was suggesting that we're no longer in a causal register proper as science would like explain

or even you know in a structuralist uh register would explain you know cause object of desire but you have what they are calling coincidental information deposits and quasi replicators which of course have the form everything in this register has the form of a virus right So the whole point is how to develop a formal mechanism to express a kind of intelligence that is A, intractable by way of semiotic, linguistic, or structural description, and B, that is self-amplifying or self-replicating. In other words, it obeys the machinic cybernetic structure of positive feedback circuits, as we were seeing last week.

Now, this gives way to what Barker calls a kind of hyper-materialism, which is more cosmic and abstract than information theory or signals analysis, and which is precisely untranslatable to any kind of intentional, dispersive, normative terms, and which has no inherent epistemological, hermeneutic, or scientific interpretation, precisely. And here's the other quote, another long one, and then there's a definition, which is important. But this one gives us like the core of it. Tick systems require an approach that is cosmic abstract, hypermaterialist, and also participative in the sense of constructivist, right? Like you build it rather than it's something given to you. Methods that do not interpret assemblies as concretizations of prior theories and imminent models that transmute themselves at the level of signals they process.

Tic systems are entirely intractable to subject-object segregation or to rigid disciplinary typologies. There is no order of nature, no epistemology or scientific metaphosition, and no unique level of intelligence. You can think of this like, let me stop there for one second. It's like, you know, if Lacan was saying that there is no meta language, right? And what this meant was that, you know, the idea, I mean, among other things, this means a bunch of things, but the dream of epistemology or philosophy is the queen of the sciences or a setting foundations as a kind of meta discourse or meta, you know, vocabulary that would adjudicate the limits of precisely every possible register of expression, then this is precisely what tick systems avoid.

They avoid translatability to any register of epistemological or ontological description or scientific description. So intelligence in the sense operating, you know, operates at this functional level that is completely intractable to any hermeneutic retrieval. I'll keep reading the quote. to advance in this area, which is the cosmos, requires new cultures or what amounts to the same new machines. Everything productive in signals analysis stems from stripping out superfluous prejudices about the source and meaning of complex functional patterns. I took and still take the vigorous repudiation of hermeneutics to be the key to theoretical advance in processing science systems. So here we get again, this repeated repudiation of hermeneutics in particular,

right and also the idea of a functionalist ontology or materialism that just like the kai was trying to shed any kind of reappropriability to the order of sense so this is very much you know the the common ground that the deleusian um you know post-structuralist uh you know ontology as well as the the kai tried to do in their own right and you know one of the things we'll interrogate in the weeks to come is how do we come out of this looking at them together, right? Like which of the two programs seems to have approached a more satisfactory formulation of the issue. And here's the definition of what a tick system is. This is again from the

glossary. Consistent microstimular assemblages dismantling semiotic regimes onto a flat machinic plane. And this flattening of semiotic and of different vocabularies, the scientific, the philosophical, the biological, the physical, you name it, into this kind of flat ontological plane of production, of machinic production, is, of course, precisely what Deleuze and Guattari's ontology is all about. Now, the question then becomes, of course, well, how do we quantify these disorganized multiplicities? What is a tick, really, right? How do we formalize this? What is a tick system composed of. And the definition of a tick is a quasi-particle of intensive multiplicity. Ticks or ticks are intrinsically several components of autonomously numbering

and organic populations. So they're numbering, automated self-numbering devices propagating by contagion between segmentary divisions in the order of nature. Ticks as non-qualitative differentially decomposable counting marks each designate a multitude comprehended as a singular variation in tick density. Here is where I think we get the departure from the vitalist ontology that Deleuze and even Deleuze and Guattari's machinic ontology gets because, and this is actually, I'll skip this quote, well let me just read the last part and then we'll get to the next slide which is really important. Once things are being worked out at the level of tick assemblies

or flat ticking arrays, there are only intensive populations and measurements. A measurement has to give way to engineering fusion multiplicities, systems that count themselves only in the way they propagate, imminently numbering multitudes like nanoplastic quantum swirls. Now what I want want to say here is that in the original sense elaborated by Deleuze, the notion, the central concept of his ontology, which is the intensive, has a distinctively qualitative character. So it is first, as you know, the intensive refers in its mathematical sense to the study of infinitesimal magnitudes, which describe infinitely divisible parts and which jointly compose what is

called a continuum. For example, the straight lines which jointly compose a curvature, right? And these are precisely contrasted with the punctiform notion of space that you get by somebody like Descartes, who speaks of separable minima. So intensive magnitudes formalize non-metric quantities. And as you might know, they are used to quantify or formalize properties like density, the pressure, color, and temperature. I said temperature twice, but whatever. But the whole point is that this is a form of qualitative analysis. Intensive magnitudes are the way that we speak of qualities. And this is also, you know, these are constituted as what Deleuze calls

heterogeneous orders of difference, precisely differential orders, right, dx, dy, which are themselves constituted of further differences. So that's the formal model that Deleuze elaborates, is the mathematical study of infinitesimal magnitudes, non-metrics quantities in space, as part of the study of continua, non-divisible, you know, continuous spaces. And the second sense in which intensity is used is the one that, of course, is associated with Kant, Merleau-Ponty, and also with Bergson, which is that intensity constitutes the core of our temporal and psychic experience. So it's part of our aesthetic experience, how we relate to the world through the senses, which is why, of course, the questions of intensive magnitudes in Kant occur as

determinations of under the category of quality rather than quantity. Intensive magnitudes possess degrees of reality that are associated with a psychological correlate. Now, the reason why i'm bringing this up is because what obviously the tick system notation is trying to do is to subtract the concept of intensity from any kind of envelopment within a qualitative register and by extension to subtract it from any kind of psych understanding of psychic agency or process that is still beholden to anything like cognition as we understand it namely aesthetic or uh conceptual cognition but peculiarly aesthetic cognition insofar as that was of course

the whole point uh in the in the delusion in the delusion ontology to begin with so here's the the quote from the beginning of my tick systems work the most consistent problems have concerned intensive sequences. Sequence is not order. Order already supposes a doubling, a level of redundancy, the sequence sequence. A decoded sequence is something else, a sheer numeracy prior to any insertion into chronological structure. That's why decoding number implies an escape from assumptions of progressive time. Tech multitudes arrive in convergent ways without subordination to chronology history or linear causation. they proceed by infolding, involution, or impulse. It is a matter of convergence,

and numbers do that once you're free to. This convergent wave business is something that the later land will reconceive within a properly physicalist register. And so what Barker does is introduce this, of course, numbering system, which provides the basis of tick systems, which is called sygonavism. And this is part of what, of course, we understand to be a decimal reduction, what they call decimal reduction of the natural numbers, and which will later serve, once we get to the numogram, to encode the mesh net number 20 of the demons, of the zone, sorry. So here is the basic operation. A first stage required plexus introgression of the tick density

scale, which was numerically rigorized as digital twinning. Treat the decimal numerals as a set of nine sum twins, sygonovis, and they map an abstract intensive wave indifferent to magnitude. So you see here's where you get the reduction of the intensive from the analysis of intensive magnitudes that pertains to psychology. Everything efficient about digital reduction is concerned with this, since it discovers the key to decimal sizegetic complementarity, 9 equals 0, a flattening down to disorder sequentiality or abstract numerical influx. 9 is the ultimate decimal numeral operating as positive or full body 0. It is the abstract numeric product of the decimal magnitude minus 1.

And as you know, the basic definition of the Deleuzean ontology of multiplicity is basically n minus 1. infinitesimalized as 1 equals 0.9999 reiterating which relates to a particular mode of proliferation within capitalist semiotics of the type 99.999 and so on right um here's the barker spiral which already sort of serves as a precursor to the understanding of twinning that we get elaborated with the numagram let me take a look at the chat very quickly um i always have problems with this chat thing. Hold on. How do I, Jesus Christ of Crap. Delanda, but the, yes.

So Hernan shared an interesting quote by Delanda about a dynamical aspect that is not shared by qualities. Differences in thermodynamic intensities, equilibrium, molecules, yes exactly no exactly and that that i think that is exactly what is being at stake here now of course delante is still thinking within a sort of study of population uh you know uh population dynamics evolutionary dynamics and so on so here you get a kind of pure flattening not just like erasing the qualitative quote-unquote aspect of it in the sense of like properties that have specific qualities, but this kind of flattening of all semiotic registers into a pure tick system systematic basis, right, which has no content, no reference, no nothing.

So going back to the spiral, obviously, I mean, it's not difficult to understand how you get this twinning, right? Zero matches with one, one with eight, two with seven, three with six, and four with five. And this, of course, corresponds to how it is that the regions of the numagram are themselves organized or into different syzygies, right? And we'll get to that shortly soon. So very, very briefly, because this, again, I think will become much more interesting to talk about once we've read the McKay piece, A Brief History of Geotrauma, which also draws from Ress's work. But what I wanted to say is that the elaboration of the theory of geotrauma and also spinal catastrophism is, well, obviously two of the elements of the CCRU lore that have become

more influential and they're still going to this day. Obviously, we have a book on spinal catastrophism. Did it come out already? The spinal catastrophism book by Moyen? But anyway, that is one of the things that has sort of caught together. Now, what I want to say about this, so as to not run out of time, simply is that, and this is an awesome story and we'll talk about this later, but geotrauma is something that you already, is yet another iteration of the same, of Lance's favorite move to do, which is, of course, the transposition of something that was localized within the organic domain or within the subjective domain.

domain into a kind of cosmic subject, right? So the whole point is that it's an attempt to bloat the history, the Freudian account of the death drive into a properly geological register. I should just like say this into a cosmological and geological register, which is also tracing a genealogy of life and thought. So one more time to just to follow the obvious that I've mentioned several times, I guess, Freud describes the death drive as the, you know, inorganic, which drives the organic from within but this is of course just a sort of protracted return right um and what what what land and the ccru do is they bloat this into a geological history and a cosmological history in which the accruing information of the earth all the way up until the genesis of life

and thinking of course the spinal catastrophism is actually an extension of this um a kind of phylogenetic genealogy of how the body and the organism and the voice develops is dislodged from a biocentric model and generalized. Now, this is a move actually that has its earliest iteration, as far as I can tell, in Land's work goes all the way back to the thirst for annihilation, Land's first book, where he proposes this theory of solar extinction in a quasi-physicalist register drawing from the work of Boltzmann and others, and where he describes basically that entropy, or the tendency in physical systems and the physical universe toward entropic increase, makes of all negentropy,

which is negentropy, sorry, all forms and bodies that are discreetly individuated in space and time in a vector of absolute dissipation. And it's of course echoed in the Deleuze-Guatturian characterization of capital, as a and land's own identification of techno capital as the impersonal motor of history which hacks the human from within so this is yet another uh variation on the same motif of trying to draw out this kind of cosmic subject that is impersonal and that obeys its own like sort of heuristics or dynamics uh going behind the back of what we perceive at the level of the surface just one short question sure yes maybe the question is a little bit vulgar

and naive I don't know but often times it sounds like also what you meant I don't know if it was Jack in this one land interview where he says you cannot escape from escape and what you just said about techno capital is this force dissolving the body especially the human body from a film and like this notion or this view of techno capital is somehow surplus or seems so closely tied to this yeah basically i don't know about the exact uh scientific status but somehow natural laws or laws of entropy and look like it's like oh okay uh as i said it sounds a bit vulgar i

I don't know if land really develops it like this, but okay, capital somehow seems to be like natural law, basically. Right. That's just very vulgar. I haven't read enough land, but one needs to ask these naive questions to not fall back into this. No, that's not a naive question. I think that's like a question that I've asked myself is if there is a way to tie the early materialism, like what he calls a libidinal materialism, in the thirst for annihilation, which is again, in a kind of quasi physical is register, even though he says it's not physical is improper to the kind of account of techno capital in his machine, quote unquote, aberrant machinic ontology that he draws from the list and what are you and the description of techno capital. And well, one of the things that would

have to follow is that I think what Len wants to do later is to find a kind of general register so that you don't have the physics hanging on one side, then capital on the other. What you need is a kind of general machinic ontology or machinic practice, cybernetics, that is going to precisely flatten all these different registers into a common formal ground, right? So I think that land has flirted with different paradigms. Obviously, at this stage, it's tick systems and sygonivism within the CCRU. Earlier, it was this kind of entropic register. later it will be game theory right that gives you the the the abstract diagram and positive feedback cybernetics in particular positive feedback cybernetics i think remains the sort of

most uh the one that he hasn't given up on to this day so i think does that help maybe like give a give a feel for this but i i think this is like an ongoing question for land himself yes yes i just needed to think about that I think it was also in circuitries where he basically says like there is no escape from cybernetics or something like that and right if you look at the history of cybernetics that it's basically the the project of some somehow a matter theory a theory which could be applicable in all scientific disciplines right the universe and and if you say okay capital works in a somehow cybernetic way and then there is no cybernetics is this meta

theory where i don't where no uh disciplinary distinctions hold yeah of course then there is no escape from capital if the function of capital is like the function of reality of reality so i mean actually in that same interview with justin murphy land says something like so land murphy asks him something like so you you you don't think that there is any possible escape from capitalism and land's answer is brilliant and disarming it's you're getting this all wrong capital is nothing but escape it's pure exit it's only that the exit is not for us it is from us right so that's the the sort of like ooh brooding locution that he drops there but yeah i mean we'll we'll definitely

get to revisit this as we delve into the accelerations. So just one short one, so capital is the escape. It's not capital that escapes, but capital is this process of escape basically. Exactly, well this is, let's be clear that at this level with the CCRU it's not clear that once you get like XSYS goes mad and shatters like the the human security system from within blah blah blah. Once Once that goes, it's not clear to me that Lemurian culture is aligned with capitalism or anything like a post-chronological future would be. But land today has sort of, you know, apparently sort of like giving up into this idea that capital, techno capitalism and techno capitalist intelligence are indissociable poles.

So the question then would be, of course, well, okay, what is a future AI singularity that's still capitalist in any reasonable sense of the word? But let's try to move on because I don't want – and, of course, Federico has to present. Now, I'm not going to revisit the genealogy of geotraumatics right now just because it would take a little bit too long, and we will get to see this in more substantive detail. But of course, it involves a periodization of the different, you know, cosmic periods of geological formation of the Earth, which coincide also with the different layers of the actual Earth as a planet, right? and what we get is this kind of like the absolute repression of the molten core the iron core which

lies you know at the center as the kind of concealed zero point of trauma which would coincide of course with the uh point of origin of with of of the um of the atlantean cross but also it has a coincident zone actually zone nine in the Lemurian framework so in the in the numagram that is of course so I'll just this is of course from the last pages of Fang Numino where where you you get to see uh Land's crazy like diagrams which are awesome I'm going to skip this just to get to to to what we want to get to right now which is the deminology very quickly so axis becomes mad and we already heard this and this opens the way historically to a kind of

resurgence of lemurian cyberspace the opening of the crypt they call it and this is of course part of this asignifying numerological kabbalistic practice that the you know that the uh members of the lemurian side practice and they it's almost like an undercut like a trojan horse that that that occurs here, right? And here's the quote. Cyber Gothic cargo culture patches itself together out of things that fall from the future, cannibalizing them from ancient intensities, which are propagated as hyperstitians. It believes nothing. But that's Utunul, which underlies everything and lies are fictional quantities. Take Yetuk, for example. It is obviously made up, yet it proves effectively ineradicable,

lurking in the most ancient substrata of programmable and embedded systems. Soft relics from the punch card epoch replicated mindlessly and encrypted in forgotten polyglot codes. So, of course, this is just another way to say that these are hyperstitional entities that are made up and yet real in the sense that they exert real influences. Like money. Crypt entities are both hypervortical singularities and unities of digital hyperstition or brands of the outside. real components of numerical fictions that make themselves real, proving the practical matter of sorcery, spirogenesis, or productive involvement that function consistently with the flatline. And here's where we finally get the two pincers of the system of pandemonium, the system of demons, the numogram and the necronomicon, which is the pandemonium matrix.

Now, I won't read this. This is from the Hypersistion blog where they basically tried to summarize what the numogram is all about and its genealogy. It's very helpful, but just the highlighted parts is that it is, A, conceived on the abstract model of a virus. is. Second of all, it's functionalized as a time map or time maze. Then it operates schematically in the crypto Kantian sense, which means basically that it serves its generative of form, right? The schematism, as I mentioned last time for Kant, is the account of the imagination by virtue of which the mind organizes the forms of intuition and allows you to track objects in the world.

But in this case, of course, we're no longer talking about the constitution of an aesthetic field or sensory domain or anything like that. Then it's affinned or affiliated with popular numeracy rather than professional or technical mathematics. and the time mapping functions of the I Ching, the Hebrew theory of life, and other chrononumeric systems as that of the Dogon are predecessors or echoes or resonant with this. And finally, it charts an intensive involvement in fate. It provokes oracular appropriations akin to those found in most occultist traditions. Finally, like the last thing is that it, this is presumed to be

a portal for a time traveling mechanism, right? Now let's, and they, you know, intelligently say, let's leave that one for a future, like, let's, let's see how, you know, that, that works. Now, let me just go through the, through the formalization and hopefully this, this, this can become a little bit clearer now with the numagram. So it is composed of 10 zones, of course, right? Now the zones are, of course, the big circles. These are grouped into five pairs, which are called syzygies, and these are organized by nine some 20. So every pair adds up to nine, five and four, one and eight nine and zero and so on and so forth. Now the decimal difference between any two

any Syzygy defines a current. So the difference between five and four is one. So therefore that allows you to shuttle from the Syzygy five four to the zone one. The difference between the Syzygy eight and one is seven. Therefore, you have a current that leads, this is the rise current, that leads you to zone seven. And seven and two lead to five, so that leads back to five. Those three syzygies, the one, eight, two, seven, and five, four, compose the rotating sector of the numagram, which is called the time circle. So this is the circular closed structure of time.

now here's where things start to get uh really really kooky like crazy right now each zone digitally accumulated adds the value or defines the value of a gate so how do you do this is basically uh here i lay it out for you so zero is zero right so there you go one plus zero equals one that's the first gate one plus two equals three one plus two plus three equals six and you can i mean i use your fingers and it becomes rather clear right there are these so then with this operation just by doing this uh from zero to nine you get the following gates gates are zero

one three six ten fifteen twenty one twenty thirty six and forty five and those are designated by the small circles in the numagram, of course. Now here is where shit gets really like sort of wank, like crazy, right? So then we are told that the reduction of the gate, the decimal reduction of the gate defines a channel which you get by adding the two digits of the gate, which are these channels are what constitute we are told the secondary flows and there are passages that are open between the zones. So let's take a look. So of course, let's say we have zone 10, I'm sorry, gate 10, right? So one plus zero,

one. And these get reduced. So like if it's 10, it's one, two plus eight, it's one. So it leads to 1. 1 is 1. 4 plus 5, so gate 45, 4 plus 5 is 9. 36 is 9, so it also leads to 9. So this gives you a trajectory, because so you get the gate by adding, by decimally adding the zone. So if you do the decimal counting for eight, you get 36. So the gate is, the gate 36 is opened in zone eight. And then by digitally adding three plus six, you get where the gate leads to. So, and those currents

are what are called the channels. So hopefully those are like made clearer in the diagram, right so I mean the example I give is gates 36 and 49 add to 9 so they lead to now so 9 now there's three sections of the numagram the plex the time circuit and the warp and there is in addition to to to this basic structure what we call what they call the distances between the zones or the demons and this is the I I mean, this took me a little bit to understand, but I think now I've made progress. So first of all, what's the definition of a demon? It's an electro-occult hyperstition entity that traffics between zones, functioning as an element of pandemonium.

Demons are holes, links, and coalescences facilitating sorceress practices. They are characterized by insidiousness, spirodynamism, multiplicity, and time complexity. Now, how do you define a demon? First, there is a face which corresponds to a zone and a planet in the solar system. Okay, so obviously from zero to nine. Then you have a net span, which is a zone net couple of descending value. So you have nine zero, nine one, nine two, nine three, nine four, eight zero, eight two, and so forth. So it's always the bigger number on top. Then you have a mesh serial, which is 0 to 44, which adds up to 45, obviously, which is the number of demons.

And the demons are supposed to have a tonality as well. Now, that's one of the most obscure aspects of this, what the tonality really does in this regard. And finally, by a system, by a set of rights or operations. and these are defined rather coarsely, almost poetically, as the kind of things that each demon is associated as being able to do. And this will all become clear because I actually can, there's an illustration here that will hopefully help us get this, but let me make sure that, I'm not just driving everybody insane here. Let me see, okay, no, let's do it. So then demons can either click or cipher gate. gates. A demon clicks a gate, we're told, if it's mesh serial, so if it's numbering from zero to 44,

matches the number of the gate. And it ciphers the gate. And by the way, clicks is non-coincident, non-coincidental matching, which is order preservative. So you, I mean, if it's one zero, it can be zero one. And a cipher is a coincidental pairing of the net span with the gate, irrespective of order. And these open a door if the net span has a zero as its second and therefore descendant value. So let's illustrate this because this is all like obviously a bunch of like craziness, right? So let's take, this is from the Pandemonium Matrix, which is the catalog that necronomic kind of demons, mesh 00, which corresponds to the demon Lurgo, also called Legba.

It clicks at gate 00 because its mesh serial 00 matches the numbers of the zone, 0, right? Matches, I'm sorry, the gate, 0, which is also like gate 0 is not diagrammatically represented it in the numagram and it's considered to have a weird status but let's let it fly for now. Let's forget about the pitch for a second. Its net span is 1-0 and this means that it ciphers gate 0-1 and gate 10 because remember ciphering means that the net span in this case 1-0 coincides

with the value of the gate irrespective of order. So obviously it coincides with gate 10 because it's also 1, 0, but it also coincides with 0, 1. So it ciphers both gates. And insofar as it has a 0 next to it, it's 1, 0, it opens a door. In fact, this is the first door, what they call the door of doors. Now, how doors function is a little bit more problematic. Now, on the basis of this basic, you know, formalism or whatever you want to call it, this insanity. Oh, I'm sorry. And I should just say one more thing in the last thing. The spinal voyage, fate line, and programming are the

rights that correspond to the demon, right? So those are the specific rights. Now, we can't get obviously into describing what each of these mean for every demon or we would be here until the year 2094 or something um those numbers before the ctp slash numerical seven those are supposed to correspond to uh cards in the game of sub decadence but we don't have to worry about that right now that's another like uh thing that has to do with madame centauri and all this stuff So there's three kinds of demons, essentially. They're so-called chronodemons, which are varieties of distance within the time circuit. Amphidemons, which are ruptures in the time circuit, openings to the outside.

And then xenodemons, denizens of the outer goals. Now, let's take a look at how this actually plays out in the numagram, because this is actually kind of cool. Also, one last property of the demons is that they are embedded within each other. And this corresponds to their net span. So if you've read some of the tales in the CCRU collections, there are a lot of like, you know, these tales of, you know, stories between the demons. They are very well thought out where, you know, some of the demons are supposed to be within or embedded or swallowed within another demon. So let's take a look at how this works because this is kind of cool. But so let's stay with our original demon, Lurgo, right?

Her net span is 1-0, which means that she roams between zones 0 and 1. So if you look at the numagram, obviously the zones are well marked out. This means that 1 is her layer. So the first digit will tell you what the layer of the demon is. And so since she moves from one to zero, then she moves from within the time circuit to the plaques, right? So that makes her an amphidemon. Because remember, amphidemons are those that designate ruptures in the time circuit. Openings. Hello? Jamie?

Daniel we can't hear you your videos or see you okay so no one else can no I know I can't get a reminder the you know the The amphedemon obviously took him. This is the rupture with the outside. Yes. This is still being recorded. So, Mo and everyone on the board of trustees, we were having a CCRU seminar. Oh, you're back. We thought the amphedemon took you with the rupture with the outside.

oh i'm so sorry uh where did i fall out well when you were talking to amphedemon you disappeared into the okay but hey they're looking at us this is yes yes exactly this happened actually someone at one of the other courses someone was talking about um well okay we'll do we'll do that another time that's fine okay okay but um so where did we did did did you get so hold on where were we this one this one so did you get why lurgo's an amphidemon yes okay that was that's where we that's where we cut out okay excellent so so she's an amphidemon because of course it takes you from the time circuit to the plex right in this case from zone one to zone zero

so for so good okay I mean sorry okay and then I was trying to explain how it is that you this embedding of demons within other games right so in this case don't and if it never mind so we have one hero so that's the distance you know that obviously encodes the passage or the zones between which the demon traffics and if you look at the pneumogram you'll see that all the zones that are in between are embedded within this distance right so the distance between nine and zero between nine and eight eight and one and eight and zero

correspondingly so this corresponds each of these series corresponds to one demon as well all of which would be nested within that okay so far so good okay uh now this is in turn and we're running out of time but it's okay so this in turn gets then of course also mapped into the whole geotrauma and spinal catastrophism business so that you can see that each zone corresponds to both each zone and each gate and by extension every demon insofar as they have a layer corresponds to a section in the spinal you know structure as well as a sector

of the earth so this is a diagram i don't know if i actually made this this is in this is taken from the um unleashing the numogram text by this person who i whose name eludes me right now but regardless they did a good job here trying to like map these different uh things into this one um what i'm i'm going to try to do at some point soon is a full mapping of the numogram with all the demons in it just to just to see what it would look like but it would be a mess that's the only problem like there would be like so many lines and so many you know so much going on um but yeah so uh what one final thing and then we'll we can jump to federico's uh presentation okay so the

zones the planet work so as i mentioned each zone corresponds to a face which corresponds to a planet right now each phase each zone by by extension also hosts as a set of demons that that zone is the uh their layer four so in addition to that each uh of the zones is numerically indexed by you know a number in the decimal system from zero to nine and planets in the solar system and they designate Barker traces which are hyper intelligences and these are not only the demons and their rights but a whole system of fabrics of associate cultural associations which if you read the pandemonium matrix and then the brief

descriptions of the of the few demons that they discuss in more detail you see like some of these like cultural associations that are you know mapped into each other now obviously so to the right sand right the right side of the of the screen you have the cascading series of of zones from zero to nine and you'll see that this makes each planet also have its sysegetic twin right so the sun and pluto neptune and mercury venus and Uranus, Earth and Saturn, Mars and Jupiter. And this is basically what they also call the kind of, it's a kind of transvaluation of the Kabbalah, they actually call it. They call it

the method of Mu, you know, this kind of planet work mapping. Here's the quote. In contradistinction to the late Babylonian or Judeo-Christian Kabbalah, the method of Mu involves a rigorous collapse of transcendental symbolism into intrinsic imminent features, excavating the latent consistency between the numerical figures, their arithmetical functions, and their cultural associations. The cultural associations are what correspond to the Barker traces, which designate these hyperintelligences, right? Horowitz, Kaim Horowitz, who is the mad mastermind of like having unraveled this planetward, describes these procedures as a diagonal path between esoteric numerology and exoteric mathematics, and also defines them

negatively as a non-numerology or ulterior arithmetic. Here's a catalog of the demons, their names. I know it's insane, right? No, I didn't do this, but this is also from unleashing the numagram and I have the excel to anybody who wants it this includes all the information including I mean you can't fit it all in one screen obviously yeah it's like you thought Final Fantasy was deep here you go well so this is just for my way of illustration obviously just just just decoding this entire thing is would be impossible but this is so helpful I was

surprised that the Excel was still alive and well. And here's a final diagram that I found by another person who is insane like us and who was doing another attempt to map the whole story into the numagram and illustrate it. But I haven't been able to get in touch with this person or get a better version of this diagram. Anyway, I was going to talk a little about like the the land text and the the whole acceleration business I mean I rush I know I rushed through the numagram thing a little bit but I wanted to get everything in and we're already 20 minutes like left and Federico should jump in in show notice but any questions or comments or anything that anybody wants to say? Can I ask just maybe a couple sentences on the status of

of numogram as a practice like what do you think because it's sure it's a beautiful thing but yeah oh you mean what do i think what do i think well it's it's to be honest i'm still wrapping my head around the the depth of detail that goes into this so where i think things really become a little bit wonky or i mean i under it's a very beautiful system right that that that that works with transitions and nestings, but it's with the rights. So, you know, the demons have rights and they're supposed to do things, but that part of the story is completely left to descriptive caprice. You know, it's almost like, again, it's like the moment where the quote unquote formalism numeracy ends and

poetry begins. Because of course, you know, you can have all of this work without having the word demon. and by substituting each of the names of the demons with just abstract characters or whatever, and then you don't have anything. It's just a pure game. It's an abstract play on symbols. So they need that extra chrono, you know, counter-chronic logical set of rights to specify how it is that each of these things presumably does something. Now, if you look more carefully, what you'll see is that the lore goes really deep, actually. So it's not as lax as one would think. It's not arbitrary. So, for example, what you would have to do in each case is take a demon, right?

You realize what their layer is. So what is their home zone and their... there for a planet and flurgo so that is one to zero so that is what was it it's uh what's what is one and zero i i always forget it's i think it's mercury and the sun right it's mercury and zero is the sun obviously so okay so you have zero and the sun so in in in the text the zones each planet is associated with a set of uh each not only planet but each number the number zero and the number nine is associated with a set of traits and cultural you know things and blah blah so the rights that the demon possesses are coeval with these general attributes that are

presumably corresponding to the planets to the numbers and so on and then the relationships between the demons are mapped in the same way. So if you have a demon that embeds another set of demons, then you would have to actually look at precisely how it is that the rights are correlated in this kind of general way, right? Or how it is the demons that share a common layer, you know, share a common structure. Obviously, the most general structure is this tripartite division between chronodemons, xenodemons, and amfidemons. And one of the things that, for example, you get into Tales, which is beautiful, is like Katak is always angry because she is traveling the time circuit.

She is a chronodemon, of course. And she's always sort of like getting into discussions with amfidemons who inhabit the time circuit but who are sort of like referring to the outside and katak just keeps paroling or patrolling rather sorry the the circuit so i mean i don't know if that helps at all obviously this is all extremely this is bananas right i can maybe maybe more precisely try to formulate the question is that uh this system is beautiful but it's very similar in a form to other systems like for example one century ago, Alistair Crowley created this incredibly complex system, which also encompasses

a bunch of different mythological systems, combines them into one single one. And then it also has this kind of slice of transitions, which are built on Kabbalistic tree. But so if we talk about difference in content, obviously this system, nomogram is more interesting, more contemporary has a bit of more uh more and focuses more topics but there is no innovation in form right there is no innovation in use i mean maybe there is i just like i'm trying to understand apart from kind of just to being like a more complex system how is it more beautiful more updated how is it different in as a form you know is there anything yeah i mean again i'm still

piercing through like for example i have no idea how to make sense of the tonality bits um there's also a mapping into phonetics right which is of course part of this whole idea of trying to do you think if you will understand it it will change your perception of the role of the system it will stop being like purely purely aesthetical practice and uh at some point after all of this this tangent can do well that's a great question actually so i i do think that the more i read about this the more i understand how it is that you map something like a set of uh rights and distances into the numagram i understand how um this corresponds it's almost like a proto attempt

to formalize a set of operations that are considered to be different forms of production, whether these be called temporal production, cultural production, you know, and so it's a typology of that as well. But I think if people wanted to go with this further, right, and really make it, I don't know, I mean, and I don't know the system that you mentioned, by the way, so I I couldn't like comment in comparison or contrast. But what I could say is there would need to be something like a cleaner passage between localization of demons rights and the zones and the gates.

right i do not like for example the the door business which is that you know certain gates open doors um or rather sorry certain mesh uh net spans open a door so that is to me is still like really wonky i don't understand what the doors precisely do and i think that's an important bit of the puzzle um i don't know if anybody got it but it's like um so yeah i mean this is like one of those things i talked to amy arland for a little bit and she's basically she knows the demons well but as far as the formalism goes this is as far as i've been able to to muster um you know for for what it's worth um now how useful is this i mean jesus now uh we do need to jump into federico's presentation okay so federico do you want

to take it from here? Darrell asked, where is the subjective position in the pneumogram? I guess each demon has a subjective position, right? I mean, in this case, it's like the demons are agencies directly, subjects of some kind. But Federico, are you there? Yes, you are. Federico? Yep. So, so I'm gonna, I'm gonna share the screen. I'm really sorry for, for the noise here. Just give me a second. There's no noise actually. Yeah, it's completely quiet.

that's a wonderful title first of all yes like she's checking rejoined her to the ccu well we'll see about that yeah don't be a heretic okay still don't be a don't be an aoe man I'm gonna be a total AOE. I'm the in-between. The AOE Lemurian centrist. There's no center though.

I'm gonna start. Basically what my claim is is that the gothic avatar and cyber gothic are are not metaphors. Hyperstition does not shape reality. Reality gives birth to hyperstition as a factible operator in reality. This means that reality opens portals to enter the hyperstitional. Although factible does not mean always effective, hyperstitional practice is rather ineffective, since its heretic theology and this stratifying our cultural sorcery eventually leads up to the blind spot of a harder restratification. To the Dalestogatarian-Baitonian double bind of state God, which in turn repeats and strengthens the fascistic Holy Roman Empire. To prove my claim,

I selected two categories of the high-prestitional. This means the high-cyber-gothic and the gothic avatar, which I propose are materially equivalent in reality. This equivalence is known as the gothic remainder, and I plan to trace the equivalence through the cherry-picked political aesthetical free association of the historical context of my country. So it's going to be in three moments. The first is an acceleration surge that attempts to undermine the state through both paracapital influences and Lemurian guerrillas. Second, the breaking down of the state as an axis crash with births both thanatopical war machines with the respective demonic invocations and the settling of the Gothic avatar, the K-gots and proto-cyber-gothicism. And finally, the deceleration after the speed rush. This means the consolidation of Colombian

neo-fascism from the machines of paramilitary war machines with the state. And they use list ghastly demarcations of the hematological dissidents in the left. And the second part is gonna be like questions about the machinic. I hope we can get through that. So without further ado, these are the first quotes from from the cyber gothic and the gothic remainder. hacking into the crypt you find that behind the glistening SF satellite space security apparatus lies an imminent via protective system self-organized about the guy in the tractor a much older paranoid machine with its tortures is dark shadows distinction law that's the definition land gives about the gothic avatar and the second quote you have to be a cake got crazy to go there into the

cyber skizz mask where life doesn't matter anymore which would be to say that the Colombian case. So the Gothic Abathurs, Ibi Gothic is the same in the material reality as the Gothic remainder. So we're going to open the portals of high precision through the Colombian context. And first with a historical undermining of POD, the political organized defensive systems according to land. And we're starting with the accelerationist drive in Colombia through the the inflictors of narco capital. As you may know, some of you from the mainstream media, Colombia has been always infected through the, of the, through the... Okay.

Did Federico fade out? Hard to go. Next week. Federico? Do you hear me? Yes, but you're breaking... Are you guys listening continuously? No, Federico, your feed stopped for a moment. You were saying... The sentence was, Colombia has always been infected by narco capital. That was the last thing you said. Oh, okay. Sorry. I'm going to... Thank you. So, what I was showing is the GDP for the respecting year of 1986. That means...

$90,793. And from narco capital, there's a 21.3% of that total, that is 20,687 total of the whole GDP of that year. This means narco capital accelerated the economics of Colombia. And I'm going to mention that Pablo Escobar actually had a movement called Civilty in Motion in 1978 that planned to respond to the inefficacies of the estate. This means he actually injected capital into the poorest parts of the country and also had, and this is insane, an ecological project. He actually had the massive planting of trees in

Medellin so this is actually insane and so yeah basically that's that's like the whole point of like say showing that there's an acceleration is right in Colombian economy economy that is undermining the state itself and that is let's say a para para para state or influx of capital the second thing is the Lemurian guerrillas well Colombia is known internationally for the history of guerrilla and I'm gonna focus on a specific guerrilla called the M19. The M19 actually showed into the into the spectrum the pseudo I would say situationist strategy that they use and they actually announced themselves through a periodical ad in the most mainstream newspaper here in Colombia that is called

El Tiempo. So they actually kept this ad running uh-oh Federico Federico Federico wait for it Federico sorry yeah sorry Federico uh you cut out again you you cut off again briefly you're yes okay can you just repeat you were saying that um that they articulated this as a form of theoretical something and then you were yeah yeah i'm sorry yeah um So they actually formulated this pseudo-situationist movement. They ran this ad, let's say, as if it was a product.

So it says, Parasite Worms Wait for the M19, like a sort of anti-marketing. And this would actually lead up to the act of the stealing of Simon Bolivar's sword in 1974. So they actually were just trying to make a joke of the state, saying like you're actually nothing, you actually mean nothing, and this is why we're actually stealing the most important symbol of the Colombian state. This means that Simón Bolívar was the liberationist of Colombia, so they took the sword, they had it in ransom for 17 years, and after that they actually did, I think it's a genius move, without let's say implicit violence, is that they actually stole weapons from a military base in the north.

So they actually bought a house under the name of, let's say, a medical corporation, and they dug a hole from the house into the military base and stole all the weapons that were stored in this military base. So once again, they showed that the state was actually being, let's say, nothing compared to what they were actually proposing. So they actually destabilized the state. by these actions. And, well, there's a lot of things that happened in Colombia during that time, the late of the 70s. What I want to show you here is how this speed that we were actually living at that moment was expressed in artwork on the first video artist from the time.

I'm going to show you a fragment from a famous video artist called Gilles Charalambo and from Sandra Llano Mejia. They actually, what I think they do in this video is from the side of Chantalambos is take information and speed it up into feedback, make a noise machine, and then Sandra Llanos through the visual alteration of the artist's heart rate, they actually use a heart rate meter, they turn the human pulse into feedback. I'm going to show you just very briefly because I know we're very hard on time. So this is Giro Scerralambos. As you can see, the information of a newspaper is set up in Tanoi.

It's in 1978. Analogical thinking, the physical, the physical weight. And Sandra Llanos, this is the hard-told meter, has been altered into non-organic code. Well, I'm going to show you, well, if you later want to see the videos, I'm going to post the links on the classroom. So, this is like the accelerationist impetus that was happening. The second movement would be the birth of the thanatopical war machines as the Gothic avatars and the undermining of the subject.

This means the disembowelment. So what I want to show you here is first, before we dive into the quotes, is that the actions of the N-19 actually brought more violence into the sphere of Colombian politics and the creation of the paramilitary groups. So we actually have the birth of the thanatopical machines. This means the topos of death clashing with the Lemurian gorillas that were happening right there in that moment in Colombia. So I'm sorry for that. The quotes that I took from Land are, Suddenly it's everywhere, a virtual envelopment by race cyclones, voodoo economics, neo-nightmares, death trips, black shamanism, epidemic, and schizolubic breakouts from the bin.

and unlife is spreading, multiplicity of those connections to all those horrible, slimmy, tentacular abominations from the outside. So the demonic might be invocated through the paramilitary and the increase of violence from the narcs, from the narcotraffic cartels. So I'm going to show you some quotes. In the last two decades, the forms of torture in Colombia were transformed and reached a magnitude without the proper name. schools for disembowelment, bone drilling, emulation of people using rubber tires. These are part of the confessions provided by the demobilizing paramilitaries or by the victims and the witnesses. And this is very curious, since it actually has to do with witching and sorcery. It was usual for the paramilitaries

to wear their nails painted black as the main sign of those practices. Black nails were the emblem they used so that the entities that supposedly protected them through the Santeria, could recognize them then during combat. So we're actually talking about real invocation of demons through the violence of thanatropical war machines. And I'm going to mention very briefly, I'm going to make a jump in time through Pablo Escobar. He actually, I think this is the peak of the destabilization of the Colombian government. He was actually captured and was actually going to be extradited to the United States, but he actually made a negotiation with the Colombian government so that he could build his own private prison that was called the cathedral. So the cathedral was this very luxurious state where he actually commanded the Colombian

states, and it's actually retold that they actually had black masses in the insides of the cathedral. They actually made sacrifices so that the narcotrafficants could make their deliveries worldwide. So that's just like an insane part of Colombian history, showing you that sorcery and the demonic is actually there. Ketak is the real here in the cathedral and the paramilitary actions. So there's actually birds as well, the K-gots, the cyber-gothics. at the opening of the crypt through the Axis crash of the state. So I'm going to show you some elements in aesthetics that I took

that showed this Gothic aestheticism that was responding to the other Gothic avatar that was coming into form through the paramilitary and the clash of the Lemurian guerrillas. So we have here a film. Férico, we're out of time, but can you keep it five minutes? I'm gonna try to go fast. So this is the film, a neo-Gothic film called Flesh of My Flesh by Carlos Mayolo, a film director in Cali that shows, let's say, this cannibalistic couple going rampant on Cali. I'm gonna talk about metal. So the birth of black metal is practically done in Colombia. Euronymous was a big fan of various black metal groups.

so we have Parabellum with Sacrilege Blasphemy, Blasphemia with Total War Medellin, that was actually like more of a grindcore group early grindcore group with their album Herpes nice name and Massacre with Requiem, so these actually are all interlinked and I know that they actually influenced the Norwegian black scene so I'm also going to show you a book that is a fictionalized account by a journalist called The Witch that actually recounts sorcery behind the political and paramilitary and the narcotraffiquants. It's a terrible book by all means, but if you want to, let's say, dive into a fictionalized

account, that's there. And there's this very shocking work by Juan Manuel Echeverría called flower base cut. This is like a flower base cut is a reference to a wound that was inflicted in in earlier periods of Colombian violence. And what we actually do is rearranges the bones, the human bones, as if it were flowers. So here we have some flowers, a skeleton shaped of flowers. And this actually leads to the second rise of the Holy Roman Empire, hauntological dissidents on the left, the strengthening of the state. So we have Tradition, Family, and Property, an international group that was established in Colombia in 1971.

And burning of books, mere reaction. We have here a very famous politician called Alejandro Ordóñez, burning publicly books that were considered pornographic. He was actually like the right hand of Alvaro Uribe Vélez, the infamous president, and the paramilitary measures with the state. This means Alvaro Uribe Vélez created a state-funded paramilitary group called Convivir that did, let's say, cleansing in the poorest neighborhoods in Medellin, and this actually led him to be the president of Colombia because people were actually scared of the rising violence so they trusted in this paramilitary group and this actually is the modus operandi

from that day from the 1990s until now the disappearance of the of the opposition through the paramilitary groups and i'm gonna show very briefly show you the since the left could not go into the future since the future was cancelled uh what we have here is what what I and Helmholtzl Grant would call the antique Martian critique. This means over as pistons and jeans, steam and ripped flesh, hardware and wetware, the classic Mars repackaging. So we're actually under, let's say, responding of the state from the left that is actually very ontological. It doesn't respond to the current state of things.

So we actually just have field of intensities without direction. So that's what I want to show you in the second part, very briefly. Let's say this responds to a critique of land, saying that all of this is great, accelerationism, cyber gothic, but we actually see in reality that it doesn't work. It's ineffective and it actually leads to the double bind of God and the state. So what I want to ask is, can we actually think of a machinic conscious, responding to the machinic unconscious? Let's say, think of a finality so we can actually avoid the hantological dissidence on the left and try to think another kind of politics from the machinic as a program. So go back to the Antioedipus, that would be like, say, my final project.

Think of it as logical relations in the Carnapian sense. I'm asking if that's possible. Bring about the logical machinic subject, logical machinic convergence at the end of the process. no longer non-linear connectivity, but strategic machinic decomings. The machinic unconscious would imply the restoration of the subject, but as the byproduct of the program, like the Marxian trigger and the structuralisms. And following Reza on his essay, Three Nightmares on the Inductive Mind, is Lent, or the lesson which varies machinic unconscious, a fallible inductive model, always prone to re-territorialization. Can we replace it then with a new inductive model? So that's, I had to rush it all, but that's it. That's the presentation. A small joke here, the lost futures of Gothic, the Lassianism or Neo Battalionism or Meccano-Higallianism that arrives from the future. Thank you.

Thank you, Federico. sorry for for you having to accelerate your presence haha see what i did there anyway um no thank you that was lovely and there's so much there and i'll actually since we're well overdrafted with time at this point um we'll have to wait for for next time but maybe next time i'll begin by just saying a couple things that um you know in response to what you just presented which is really interesting i mean i'm from peru myself so now you're making me think about the history of my own country and seeing if there's a way to like sort of talk about this in in a way that they could be informative I think we have a lot of stuff to talk about yeah certainly certainly well we're clearly over seven minutes over already so I

don't want to take any more of your time thank you everybody for for sticking around and yeah I mean I had to rush to the numagram stuff a little bit, but hopefully that was a little bit clearer. Of course, once the thing goes up online, you can rewatch the relevant parts in case anything wasn't as clear. Or you can ask me questions about any of the details if anything just needed further clarification. I just have one final question. Sure. Because all this CCIU stuff is really, really detailed. And it seems to take up a lot of time to really get into it. And I want to ask you if you think it's more worth the time to invest one's energy into Lens early writings than just, okay, dive into the CCIU universe completely.

Because the course seems to be in Lens writings. Yes. Yes. Well, so I think that with land, you get the more clean, quote unquote, philosophical, theoretical points. That's why I wanted us. I mean, I had some some points to make about the two texts that we read for today on top of that. I personally have found both endeavors to be informative and useful in different ways. I mean, again, I'm still figuring out the numagram business and all this stuff. But the deeper I go, the more I kind of appreciate it for what it is. You know, even at the end of the day, if it isn't, I mean, it's theory fiction, right? So even if it doesn't have a direct, let's say, I don't know, usable content, there is

nevertheless an accomplishment there that I think is quite remarkable. You know, it's kind of an amazing thing when you witness just how much detail and how beautiful it is once you see the moving parts come together it's corny but it's also really really smart you know uh that's as that's as good as i can make it impressive but yeah lens lens own philosophical writings are much more usable for somebody who has a philosophical agenda or anti-philosophical okay thanks yeah yeah well i think that's uh all the time we have today in fact we already ran out of time. So thank you, everybody, I guess. Yes, thank you, everyone. That was an excellent session.

Thank you. Thank you. Bye. Bye. Bye-bye. Have a good weekend.