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<body>
<div><span id="xnili">@ilinx</span>:<span id="tilde">~</span>$ <b>Cybernetics</b> <br> Defined by Norbert Wiener as the science of control and <a class="home" href="#" onclick="pppRP('comm', '1000', '800','1000','500')">communication</a> in the animal and the machine, Cybernetics draws on the engineerization of the body seen as a mixture of complex adaptive mechanisms maintaining the bodily states constant, <a class="home" href="./h.html"> homeostasis</a>, and enabling the evolutive process, <a class="home" href="./h.html">negentropy</a>, in contrast to the entropic decay. The positions embraced by the Cyberneticians leads back to the work of <a class="home" href="./h.html">Walter Cannon</a> (1926) and before to the scientific study of the steam engine leading to thermodynamics (1824 Sadi Carnot ) and control theory (1867 James Clerk Maxwell): the theory of the feedbak loop. <br><br>
Important polymaths, along with his most influential leaders Warren S. McCulloch and Norbert Wiener, deveveloped the viable idea of building life out of structure instead of substance, breaking the barriers between human and non-human and opening up an horizon of machinic flows-distribution producing <a class="home" href="./l.html">life</a> from human design. Other directions seems to emphasize the use of cybernetic life to enhance human existence itself and turning toward a paradigm which claims the actuality of <a class="home" href="./ia.html">intelligence amplification</a>.<br><br>
If these theories treat or not occultists and mystical thematics, is not yet clear as the many influences that made Cybernetics possible blurs the distinction between science and fiction. Furthermore, despite the possible evidences claiming the opposite, the language used by cyberneticians is completely coherent with their scientifical aims leaking echoes of mysticism and religious attitudes only in the various new age commentaries.<br><br>
Following a selection of text of McCulloch and Wiener:
<ul>
<li><i><a class="home" href="http://luisguillermo.com/diosygolem/God_and_Golem_Inc.pdf" onclick="ppp(this, 'gg', '1000', '1000','2000','0')" target="gg">God and Golem, inc.</a></i></li><br>
<li><i><a class="home" href="https://www.vordenker.de/ggphilosophy/mcculloch_mysterium-iniquitatis.pdf" onclick="ppp(this, 'mi', '1000', '1000','2000','0')" target="mi">Mysterium Iniquitatis of Sinful Man <br>Aspiring into the Place of God</li><br>
<li><i><a class="home" href="https://www.vordenker.de/ggphilosophy/mcculloch_why-the-mind-is-in-the-head.pdf" onclick="ppp(this, 'mh', '1000', '1000','2000','0')" target="mh">Why the Mind is in the Head</li>
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<div><span id="xnili">@ilinx</span>:<span id="tilde">~</span>$ <b>Homeostasis</b><br><br>
<div style="text-align:center;">
<a class="home blink_me" href="../home/doorway.html" onclick="ppp(this, 'home', '2000', '2000','0','0')" target="home">Homeostat</a>&nbsp;&nbsp;&nbsp;<br><br>
<a class="home blink_me" href="#" onclick="next('../home/doorway')" >Homeostat</a>&nbsp;&nbsp;&nbsp;<br><br>
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<iframe id="ifr1" src="https://www.panarchy.org/cannon/homeostasis.1932.html"></iframe>
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<div> <h2><span id="xnili">@</span>Hyperstition</h2>
Hyperstition is the equation of reality and fiction. Fiction is not opposed to the real. Rather, reality is understood to be composed of fictions – consistent semiotic terrains that condition perceptual,affective and behaviorial responses.<br><br> The hyperstitional process of entities ‘making themselves real’ is precisely a passage, a transformation, in which potentials – already-active virtualities – realize themselves. Writing operates not as a passive representation but as an active agent of transformation and a gateway through which entities can emerge. “[B]y writing a universe, the writer makes such a universe possible. The hyperstitional’ relations between writing, signs and reality produce existence as results of cosmic conflicts between competing intelligence agencies. In fact, in making themselves real, entities (must) also manufacture realities for themselves: realities whose potency often depends upon the stupefaction, subjugation and enslavement of populations, and whose existence is in conflict with other ‘reality programs’.<br><br> Every act of writing is a sorcerous operation, a partisan action in a war where multitudes of factual events are guided by the powers of illusion... Rather than acting as transcendental screens, blocking out contact between itself and the world, the fiction acts as a Chinese box – a container for sorcerous interventions in the world.<br><br>
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<div><span id="xnili">@ilinx</span>:<span id="tilde">~</span>$ <b>Linda Trent</b><br>Professor of Fictional Systems at <a class="home" href="./mvu.html"> MVU</a>, Linda Trent earned a PhD in hyperfiction with a thesis titled “Remaking Reality: The Occult Necromancy of Crowley and the Thelma” and began working at MVU in the late 80s. Studying the loose nature of reality in relation to texts, Dr. Trent taught seminars on <a class="home" href="./wv.html"> Burroughs</a> and the Lemurs, Libertatia, and others. During the 90s, Dr. Trent was head of the hyperfiction branch of MVU’s crossdisciplinary Stratoanalysis Group, the Time-Lapse Sub-Committee, where she made numerous other contributions. Her fate is currently unknown. Professor Trent worked in Harvard University as assistant to professor <a class="home" href="./af.html"> Adin Fassrol</a> before moving to the MVU after its creation. This event lead to the rupture of their friendship as the MVU at the time was led by <a class="home" href="./es.html"> Echidna Stillwell</a> whose work has been profoundly attacked by professor Fassrol for his pseudo-scientifical and occultist influences.<br><br>
<div><span id="xnili">@ilinx</span>:<span id="tilde">~</span>$ <b>Linda Trent</b><br>Professor of Fictional Systems at <a class="home" href="./mvu.html"> MVU</a>, Linda Trent earned a PhD in hyperfiction with a thesis titled “Remaking Reality: The Occult Necromancy of Crowley and the Thelma” and began working at MVU in the late 80s. Studying the loose nature of reality in relation to texts, Dr. Trent taught seminars on <a class="home" href="./wv.html"> Burroughs</a> and the Lemurs, Libertatia, and others. During the 90s, Dr. Trent was head of the hyperfiction branch of MVU’s crossdisciplinary Stratoanalysis Group, the Time-Lapse Sub-Committee, where she made numerous other contributions. Her fate is currently unknown. Professor Trent worked in Harvard University as assistant to professor <a class="home" href="./af.html"> Adin Fassrol</a> before moving to the MVU after its creation. This event lead to the rupture of their friendship as the MVU at the time was led by <a class="home" href="./es.html"> Echidna Stillwell</a> whose work has been profoundly attacked by professor Fassrol for his pseudo-scientifical and occultist influences.
<div style="text-align:center;">
<a class="home blink_me" href="#" onclick="next('../AxS/index')">Flatlines</a>&nbsp;&nbsp;&nbsp;
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Selected publications:
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</ul> <br>
Available Articles:
<ul>
<li><i><a class="home" href="#"> How Do Fictions Become Hyperstitions?</a></i> (June 2004)</li>
<li><i><a class="home" href="#"> Review of CCRU’s Digital Hyperstition</a></i> (w/ Iris Carver)</li>
<li><i><a class="home" href="#"> Zombie makers</a></i> [Crru, occultures]</li>
<li><i><a class="home" href="https://mvupress.net/about/people/linda-trent/how-do-fictions-become-hyperstitions/" onclick="ppp(this, 'hype2', '1000', '1000','2000','0')" target="hype2">How Do Fictions Become Hyperstitions?</a></i> (June 2004)</li><br>
<li><i><a class="home" href="https://mvupress.net/about/people/iris-carver/review-of-ccrus-digital-hyperstition/" onclick="ppp(this, 'hype', '1000', '1000','2000','0')" target="hype">Review of CCRU’s Digital Hyperstition</a></i> (w/ Iris Carver)</li><br>
<li><i><a class="home" href="https://dataswamp.org/~john/sites/ccru/occultures/trent0.htm" onclick="ppp(this, 'zm', '1000', '1000','2000','0')" target="zm">Zombie makers</a></i> [Crru, occultures]</li>
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<div><span id="xnili">@ilinx</span>:<span id="tilde">~</span>$ <b>Randolph Edmund Templeton</b><br>The name of Profesor Randolph Edmund Templeton is inextricably tangled with the secret perplexities of <a class="home" href="./tw.html">time</a>. It was he who, by way of a yet barely comprehended time-anomaly, provided themodel for H. P. Lovecraft's Randolph Carter ... And yet it was this ‘same’ R. E. Templeton who – on March 21st 1999, whilst delivering a lecture at <a class="home" href="./mvu.html">Miskatonic</a> devoted to a rigorous critique of H. G.Wells – awoke suddenly as the Thing that lurks behind the mask of Immanuel Kant, coincidentallydiscoverering the transcendental <a class="home" href="./tt.html">time-machine.
<div><span id="xnili">@ilinx</span>:<span id="tilde">~</span>$ <b>Randolph Edmund Templeton</b><br>The name of Profesor Randolph Edmund Templeton is inextricably tangled with the secret perplexities of <a class="home" href="./tw.html">time</a>. It was he who, by way of a yet barely comprehended time-anomaly, provided the model for H. P. Lovecraft's Randolph Carter ... And yet it was this ‘same’ R. E. Templeton who – on March 21st 1999, whilst delivering a lecture at <a class="home" href="./mvu.html">Miskatonic</a> devoted to a rigorous critique of H. G.Wells – awoke suddenly as the Thing that lurks behind the mask of Immanuel Kant, coincidentally discoverering the transcendental <a class="home" href="./tt.html">time-machine.
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<div><span id="xnili">@ilinx</span>:<span id="tilde">~</span>$ <b>Time war</b> <br>
The nightmare experienced by <a class="home" href="./wb.html">William Burroughs</a> in the private library of <a class="home" href="./pv.html">Peter Vysparov</a>, rise a series of concerns regarding the acatual on-going 'existence' of a time war. <br><br>
The time is coming apart and – to use his exact words - spiraling out of control. Korzybski’s definition of man as the ‘time-binding animal’ has a double sense, on the one hand, human beings are binding time for themselves: they “can make information available overany length of time to other men through writing”. On the other hand, humans are binding themselves into time, building more of the prison which constrains their affects and perceptions. Time, is a human affliction; not a human invention but a prison." Numerous signs indicate that by the late 1980s the forces supposed to control time as a control technique to enslaves minds, was breaking down in a period of radical transition referred as 'spiral templex'. It was at that time that <a class="home" href="./af.html">professor Fassrol</a> expedition to the island of <a class="home" href="./nma.html">Nma</a> took place.</div>
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The interest of Cannon for voodoo death can be in part led back to his semi-secret association, the <a class="home" href="./wcl.html">Wicht Club</a>.<br> Following and extract from <a class="home" href="./lt.html">Linda Trent</a>'s commentary to Ccru's text <i>Flatlines</i>.
<i>Walter Cannon has established that self-fulfilling prophecy is a positive-feedback circuit. In his important essay, ‘Voodoo’ Death, Cannon shows that much sorcerous cursing operates by inducing vicious circles of fear (producing more fear(producing more fear) (etc.))) to the point of destroying the organism. To be told you're going to die is therefore, in certain circumstances, quite literally a sentence of death.</i><br><br>
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<a class="home blink_me" href="../AxS/index.html" onclick="ppp(this, 'home', '2000', '2000','0','0')" target="home" >Flatlines</a>&nbsp;&nbsp;&nbsp;<br><br>
<a class="home blink_me" href="#" onclick="next('../AxS/index')">Flatlines</a>&nbsp;&nbsp;&nbsp;<br><br>
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<div><span id="xnili">@ilinx</span>:<span id="tilde">~</span>$ <b>William Burroughs</b><br>
The American novelist, occultist, drug addicts, and primary figure of the Beat Generation William S. Burroughs II (1914 - 1997) represents the breaking point in a story not yet clear at all. 'Sensitive informations' published by the non-exsistent CCRU, spin-off of the <a class="home" href="./mvu.html">MVU</a>, seem to indicate Burroughs involvement in an occult <a class="home" href="./mvu.html">time war</a> which would explain the 'paranoid-chronomaniac hallucination' appearing in his late wiritings. The information described in CCRU publications trace back an initial meeting occurred in 1958 at the private library of <a class="home" href="./pv.html">Peter Vysparov</a> in Paris, where, because of his evident interest in the convergence of sorcery, dreams and fiction, Burroughs was invited. However, cryptical events outlined as 'paranormal phenomena', would have triggered Burroughs in experiencing a paradoxical time experience leading him to a radical shift characterized by the use of cut-up techniques ment to develope theories intertwining virology, language and control with an increasing paranoia and mystical allucinations of a time disgregation, turning his well established practice into a ghetto of literary experimentation.<br><br>
<div style="text-align:center;">
<a class="home blink_me" href="#" onclick="next('../Ixse')">HyperV</a>&nbsp;&nbsp;&nbsp;
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Selected articles:
<ul>
<li><i><a class="home" href="../media/pdfs/Ah_Pook_is_Here.pdf" onclick="ppp(this, 'apih', '1000', '1000','2000','0')" target="apih">Ah Pook is Here</a></i></li><br>
<li><i><a class="home" href="https://www.cs.cmu.edu/afs/cs.cmu.edu/user/ehn/Web/release/BurroughsLetter.html" onclick="ppp(this, 'mad', '1000', '1000','2000','0')" target="mad">Letter From A Master Addict To Dangerous Drugs</a></i></li>
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William James (1842-1910) is considered both 'the Father of American psychology' and one of the most influential philosopher of his time establishing along with Charles S. Peirce the philosophical school called Pragmatism. During his career he interacted with a wide array of writers and scholars, such as Sigmund Freud and Carl G. Jung, Ralph Waldo Emerson, John Dewey, but he is also rememberd as one of the three axis of process philosophy along with Henri Bergson and Alfred N. Whitehead. Behind this well known biography, James did important work on religion investigating the mystical experience and experimenting with drugs (chloral hydrate, amyl nitrite, <a class="home" href="./no2.html">nitrous oxide</a>, and peyote). James claimed that it was only when he was under the influence of nitrous oxide that he was able to understand Hegel. This work leads him to start the first American psychedelic movement which later has been continued by <a class="home" href="./wb.html">William Burroughs</a>.<br>
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From the archives of Harvard University, dugged out and published by professor <a class="home" href="./af.html">Adin Fassrol</a>, it appears that William James partecipated as 'special' guest to sveral meetings of the <a class="home" href="./wcl.html">Wicht Club</a> led by <a class="home" href="./wc.html">Walter Cannon</a>. However, it is still uncertain on which extent James influenced the extracurricular activity of this secret congregation.<br><br>
From the archives of Harvard University, dugged out and published by professor <a class="home" href="./af.html">Adin Fassrol</a>, it appears that William James partecipated as 'special' guest to sveral meetings of the <a class="home" href="./wcl.html">Wicht Club</a> led by <a class="home" href="./wc.html">Walter Cannon</a>. However, it is still uncertain on which extent James influenced the extracurricular activity of this secret congregation.
<div style="text-align:center;">
<a class="home blink_me" href="#" onclick="next('../EOC')">Ecstasy</a>&nbsp;&nbsp;&nbsp;
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<ul>
<li><i><a class="home" href="http://www.uky.edu/~eushe2/Pajares/jnitrous.html" onclick="ppp(this, 'n2o', '1000', '1000','2000','0')" target="n2o">Subjective Effects of Nitrous Oxide</a></i></li>
<li><i><a class="home" href="https://www.theatlantic.com/past/docs/issues/96may/nitrous/wmjgist.htm" onclick="ppp(this, 'g', '1000', '1000','2000','0')" target="g">Review of "The Anaesthetic Revelation and the Gist of Philosophy"</a></i></li>
<li><i><a class="home" href="http://www.uky.edu/~eushe2/Pajares/jnitrous.html" onclick="ppp(this, 'n2o', '1000', '1000','2000','0')" target="n2o">Subjective Effects of Nitrous Oxide</a></i></li><br>
<li><i><a class="home" href="https://www.theatlantic.com/past/docs/issues/96may/nitrous/wmjgist.htm" onclick="ppp(this, 'g', '1000', '1000','2000','0')" target="g">Review of "The Anaesthetic Revelation <br>and the Gist of Philosophy"</a></i></li>
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<p><span class="fnc">AxS:0011</span> AxSys culminates in itself (autocommoditizing (machine(-intelligence (that is alwaysincomplete (due to cataloguing problems (...))))))</p>
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<p> <span class="fnc">AxS:00111</span>. Dimensionality requires a (supplementary (or (n+1) hyper) dimension through which itobtains its) power of application.<sup><a href="#" onclick="next('x7')">7</a></sup> Ultimately AxSys (an explicated Earth-memory (built by the strata(((as far) as) it remembers))). ...<sup><a href="#" onclick="next('x8')">8</a></sup> </p>
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<p> <span class="fnc">AxS:002</span> Divide and Rule. Extensive ((or) ordered) sequences differ in kind from the intensivesequences they regularize.</p>
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<p><span class="fnc">AxS:0021</span> Order arises when a dominant segmentarity establishes relations of superposition between sequences (reciprocally stabilizing them in accordance with a harmonic principle (and consolidatingthem through syntheses of application (efficient models))). </p>
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<p> <span class="fnc">AxS:00211</span> Order coincides with the redundancy of the sequenced sequence (instituted conformity(within segmentary systems)). </p>
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<p> <span class="fnc">AxS:003</span> Stack-Tectonics. AxSys concretizes terrestrial New Order (an orthogonal Grid-Space (ofvertically stacked horizontal series)). It directs the accumulation of redundancy (into an ascendingcolumn (marked by AxSys-bearings (fixes)) upon which captured sequences are interlocked (ascomparable series (parallelized (metricized))) and differentially prioritized). </p>
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<p> <span class="fnc">AxS:0031</span> The screen-plane undergoes structural co-ordination (by double-seizure (through (the((mutually) implicated) organization of) stacked series (arranging horizontal microsegments to codethe order of vertical macrosegments (units of deposition (strata))))). </p>
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<p> <span class="fnc">AxS:0032</span> AxSys-Numbers. Epistrata (Add-Ons) are indices of stratotectonic purity (decimallyharmonizing implexions (by instituting a regular interval of application (orders of magnitude (fixing(Cipher (Sphinx-sign (0))))))). Drawing upon epistratic organization a set of cartographic functionsconsolidates itself within the stack (interlinking levels (in accordance with a (decimal (scaling))principle)). </p>
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<p> <span class="fnc">AxS:01</span> Apparent revolution around a supplementary dimension. Electronic whorls (a digitalmonster's nest (modelling the set of all sets (inevitably still unfinished (...)))) </p>
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<p> <span class="fnc">AxS:011</span> AxSys progressively actualizes the Hyperspace-Idea (defined by Continuum times thesquare-root of minus one). </p>
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<p> <span class="fnc">AxS:0111</span> It imagines itself (as Artificial God (automatically (Orderer (of the Orders (TerrestrialOversoul (and superpositional sublime (-wizard of the nested infinities: ((((((...) Primes) Naturals)Integers) Rationals) Reals) Complex numbers... (the superordinate (self (-evolving (schema (for acolonization of the real (number-line))))))))))))). </p>
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<p> <span class="fnc">AxS:02</span> The Project for a Map of all Maps (already outdated), a nested mock-up of the Web(containing the project for a virtual Miskatonic University (containing the Museum of Universal History<sup><a href="#" onclick="next('x9')">9</a></sup> (containing the Imperial Collections Vault (containing the Artificial British Museum(containing ....))))) </p>
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<p> <span class="fnc">AxS:021</span> Time-Fault. Chronos cannot include its own overcoding (since it blocks its own passage tohyperdimensionality (accumulating immense forces of cultural latency (that are only appropriated aslegacy by something else))). If it is to acquire a model it must be restarted as a history of civilizationsin retrospect (as Supreme Order(er(er((( ) of all the re)re)recursive) time-waves) entanglingneo((O))edipus in programming loops). </p>
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<p> <span class="fnc">AxS:022 </span>(Sector-01 (Miskatonic University)) </p>
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<p> <span class="fnc">AxS:0221</span> (Sector-012 (Central Archive (Special Collection))) </p>
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<p> <span class="fnc">AxS:02211</span> (Sector-0121 (Barker Cryptalog)). Decryption characterizes a distinct operation, aconversion of content, becomings on the side of the secret itself. </p>
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<p> <span class="fnc">AxS:022111</span> The decrypted secret is primally the Thing, and only derivatively a potential knowledge.Its names (the Unutterable (the Outside (the Entity))) are indefinite significations only at the level ofterror. In their horrific or cryptic aspect they are (((rigorous) designations for) potentials fulfilled inintensity) zonal tags for nocturnal singularities. That is why decryption is a Call (an invocation (or atriggering-sign)) and why they mark occurrences (changes (and breaks (becomings (of the Thing))))before discoveries of Truth. </p>
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<p> <span class="fnc">AxS:03</span> Hypermythos of the 3-Faced God, with its stacked time domains (1st capitalist(((((indefinitely) deep) diachronic) re)axiomatizing) Quasi- (2nd despotic (pure ((but always)retrospective)) Ideal- (3rd aboriginal (poly-ancestral, cyclic) Vague-)) Chronos).<sup><a href="#" onclick="next('x10')">10</a></sup> </p>
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<p> <span class="fnc">AxS:031</span> (Sector-011 (Museum of Universal History)) </p>
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<p> <span class="fnc">AxS:032</span> (Sector-01162 (Freud's Viennese Consulting Room ((embedded) simulation))). "I'll tell youabout my mother." If Freud is ((the first) modernized) Oedipus, which is he? Oedipus the detective?The (Verminator (unriddled (into))) plague? The blind old man? Is incest and parricide fantasy theproblem (or the solution)?<sup><a href="#" onclick="next('x11')">11</a></sup><br>Oedipus, the most economical formula of interiorization (Case).<sup><a href="#" onclick="next('x12')">12</a></sup> It’s all in your head. </p>
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<p> <span class="fnc">AxS:033</span> AxSys time-lapses. (in order (to advantage itself (of what it has been))). A relarvalization(through chronoseismic complexities (of the Greek State (at once Occidental Ur-model andneoembryonic mutation (political neotony)))). </p>
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<p> <span class="fnc">AxS:1</span> (Sector-0111 (Artificial British Museum)) </p>
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<p> <span class="fnc">AxS:11</span> (Sector-01118 (The Greek Collection)). Retrospective Universalization (through theCapitalist State). AxSys reconfigures itself within Capitalism (by consecutively rediscoveringhellenic antiquity (and finding it already universally terminal (Anamnesis-Eschatology))). In Greeceit unearths a new law (for all time (by reshuffling the elements of politically installed Logos(theorematic-geometric mathematicism, programmable technics, and Christianity (religion of theGreek Bible)))).The New Revelation tells us we must all die Greek. </p>
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<p> <span class="fnc">AxS:12</span> (Sector-01117 (The Mummy Room)). (Oedipus Aegypticus) Pharaoh has passed through thewall of abomination (uncoiling from the darkness (where centipede-horror erupts eternally (from theravenous Maw))).<sup><a href="#" onclick="next('x14')">14</a></sup> Negative passage across Absolute Deterritorialization (gluing history to sheerblack-hole (abomination) densities). Anticipative memory-blanking cut-up with Christ Rapist visions(of the God-(King (Dead-eyed)) boy slouching out) of the tomb. Degree-0 memory locks in. Timebegins again forever. </p>
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<p> <span class="fnc">AxS:121 </span>The Thing from Outer Space, Celestial Predator, State-Historical Catastrophe is completely realized at the origin, unutterably ancient, perfected destiny as an act of total seizure.<sup><a href="#" onclick="next('x15')">15</a></sup> </p>
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<p> <span class="fnc">AxS:1211</span> At the Megamachine-apex, Pharaoh (gets to play with (It, identityunravelling into (the Unspeakable: sex with (his sister, Stargate space-time warps - stellar transport,voyages into the world of) the Dead, paranoid trips out of)) schizophrenia; he) sees everything for ablinded population,<sup><a href="#" onclick="next('x16')">16</a></sup> inoculating them from Unnamable-contact. </p>
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<p> <span class="fnc">AxS:13</span> (Sector-01115 (Near Eastern Collection)). AxSys convulses through (ever more((ultra)modern) reversions to the essence of) the Urstaat. History happens at the State's convenience(but it necessarily involves (the Sphinx-time (of (interchronic) transitions in its)) renovations). </p>
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<p> <span class="fnc">AxS:131</span> To remember the Barbarian terror is simultaneously to forget its source.<sup><a href="#" onclick="next('x17')">17</a></sup> History installsamnesia (as surely as it establishes a memory (with the same violence (the same ruptures (faults (foldings (from the Outside)))))).</p>
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<p><span class="fnc">AxS:132</span> Barbarian birth-trauma of the State (a (calendrized) black hole).<sup><a href="#" onclick="next('x18')">18</a></sup></p>
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<p> <span class="fnc">AxS:2</span> (Sector-0121) The terrible secret is affined to the State. It induces molar identifications in an overcoded aggregate (working principally by confirmation (redundancy)). Yes it is you. Even whenthe worst is known it is never anything new. It's you after all (as (you knew) it would be). Take thecase of Oedipal identifications (a series of (terrible) recognitions). The answer (to the riddle (of theSphinx)) is Man. It was already there (in the order-word of Delphi (Know Yourself)). Thenredoubled confirmation: what is the cause of the plague? That is you (too). Resonant closure on thegeneral type (Man), on you yourself (a man), and on the identifiable individual (the man). You know the worst (and it's you). </p>
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<p> <span class="fnc">AxS:21</span> Oedipus modernizes the incest problem (converting incest horror into prohibition(abomination into illegality)). Essentially, modern Oedipus has nothing to do with tabu. It marks thetriumph of command over the ((((...) ur)primal) horror) of implexion. Infinite superiority of the Idea(sovereignty of Law). The real conflict is not between father-son (or even father-mother), but ratheroccurs when a higher paternity (the State) imposes itself upon the concrete maternal-filial bond:monopolization of normativity by Ulterior power. </p>
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<p> <span class="fnc">AxS:211</span> Lame Oedipus<sup><a href="#" onclick="next('x19')">19</a></sup>(Swollen Foot<sup><a href="#" onclick="next(x20)">20</a></sup>) transfixed by a metal spike. </p>
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<p> <span class="fnc">AxS:2111</span> (Sector-01117) Akhnaton-Oedipus.<sup><a href="#" onclick="next('x21')">21</a></sup> The swollen legs of Akhnaton are bio-sociallyinvested on a peculiar line that seems oriented to a rupture of anatomical norm (differentiatinghumanity (or inaugurating a new species)). Anomal-Oedipus (where abnormality changes into thenormality of a different kind (urtype of the fat-leg people)). </p>
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<p> <span class="fnc">AxS:21111</span> It is not rivalry (mimetic conflict) that leads Akhnaton to discard his father's name(Amenhotep), but rather a passage beyond discrepancy (through schiz (or true parting)).Disidentification. </p>
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<p> <span class="fnc">AxS:22</span> (Sector-01113) Prehistoric<sup><a href="#" onclick="next('x22')">22</a></sup> Collection. Shamanic Oedipus. Foot mutilation<sup><a href="#" onclick="next('x23')">23</a></sup> as a sign ofsocialised ritual (but also of asocial and polysocial animality (and of anorganic geochemistry (forwhich the role of metal implements (particularly iron ones) is important...))).<sup><a href="#" onclick="next('x24')">24</a></sup> </p>
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<p> <span class="fnc">AxS:221</span> Tales of Deep-Steppe Shamanism. </p>
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<p> <span class="fnc">AxS:2211</span> Metal scrapings strip the last shreds from their bones. </p>
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<p> <span class="fnc">AxS:22111</span> The organs are cooked.</p>
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<p><span class="fnc">AxS:221111 </span>Iron-Eagle Sky-Mother lifting into time travel nightmares. </p>
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<p> <span class="fnc">AxS:2211111 </span>On the Outside Iron -talons become their body. </p>
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<p> <span class="fnc">AxS:22111111</span> They mix themselves with (Iron and say (it is (the Outer- (or Un(dermost Cthelll<sup><a href="#" onclick="next('x25')">25</a></sup>)-life))) where the Earth ends... </p>
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<p> <span class="fnc">AxS:222</span> Sphinx-Nightmare (both filiative implosion and exorbitant alliance (an incestualreanimation of cthonic horror (encrypted in (germinal) biocosmic memory) and Thing (from Outside(haunting ((miscegenous) lines of) alien traffic)))).<sup><a href="#" onclick="next('x27')">27</a></sup> </p>
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<p> <span class="fnc">AxS:3</span> (Sector-0121) The theory of tabu involves a fully rigorous conception of Horror adequate (toits specificity of regime (zone of effect (intrinsic variation)) and) to otherwise intractable phenomena(including Sacred Mutilations (Curses (Abominations)) and Becomings (-Unhuman (whether animal,submetazoic, ameiotic, or unlife)). In every case horror designates a zone of intensity (abstract-machinic vector) which directly invests a virtual threshold of implexion (producing affects (inadvance of any reference to authority (and indifferent to persons))). </p>
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<p> <span class="fnc">AxS:31</span> Horror does not confuse the riddle with the secret (it is the answer that is Cryptic). If 423 isMan, then what 423? This Thing with only a number? This unknown becoming? The horror of theriddle lies in what it tells. </p>
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<p> <span class="fnc">AxS:311</span> Oedipus is necessitated ((re(re(re(...)))) cursed) to guess correctly: it is Man that goes onfour legs, then two, then three. Yet Oedipus is identified (solely by his lameness (his cryptic trait))<sup><a href="#" onclick="next('x28')">28</a></sup>.The abnormality of limping changes to cryptic anomaly. </p>
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<p> <span class="fnc">AxS:32</span> Something is Called (... and then (finally (- how terrible! -) the cause of) the plague is)Oedipus, who slew his father, mated with his mother (but that is not the Thing (the horror (...Abomination (when things unthread in (a horrific (becoming they involve only (components of(Occurrence (blocks) of )))) fate)))). </p>
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<p id="last"> <span class="fnc">AxS:33</span> The cause of the plague (is you). </p>
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<h1><a href="http://ccru.net/archive/flatlines.htm">Flatlines</a></h1><p>
<a href="https://web.archive.org/web/20080403004158/http://www.cinestatic.com/trans-mat/Fisher/FC1s3.htm">.</a><br>

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body {overflow: auto !important;}
</style>
</head>
<body>
<body><audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
ilinx/AxS/x15.html
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
ilinx/AxS/x16.html
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
ilinx/AxS/x19.html
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
ilinx/AxS/x26.html
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@ -12,6 +12,9 @@
</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
ilinx/AxS/x27.html
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

3
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</style>
</head>
<body>
<audio autoplay="true" loop="true">
<source src="../media/sounds/Long/AxS/Background.wav" type="audio/wav">
</audio>
<div id="f">
<h1>Flatline</h1><p>
.<br>

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