If we shatter, and scatter, a hologram, we will realize that in each fragment, no matter how small, large, or irregular; we will see the whole hologram. This is an incredibly significant phenomenon.

It has all ways been my personal contention that if we take, for example, a splinter of John Lennon, that splinter will, in a very real manner, contain within it everything that John Lennon ever experienced; everything that John Lennon ever said, composed, wrote, drew, expressed; everyone that ever knew John Lennon and the sum total of all and any of those interactions; everyone who ever heard, read, thought of, saw, reacted to John Lennon or anything remotely connected with John Lennon; every past, present and/or future combination of any or all of thee above.

In magick this is known as the “contagion theory” or phenomenon. The magical observation of this same phenomenon would suggest that by including even a miniscule reference or symbol of John Lennon in a working, ritual or a sigil (a two or three dimensional product invoking a clear intention usually primarily graphically and non-linguistically, in a linear, everyday sense) you are invoking John Lennonness as part of what in this particular context (i.e. music) is a musical sigil.

We access every variable memory library and every individual human being who’s ever for a second connected with, conceived or related to or been devoted to or despised or in anyway been exposed to this splinter of culture.

All that encyclopedic information—and the time travel connected with it, through memory and through previous experience—goes with that one “splinter” of memory, and we should be very aware that it carries with it an infinite sequence of connections and progressions through time and space. As far as you may wish to go.

We can now all maintain the ability to assemble, via these “splinters,” clusters of any era. These clusters are basically reminding. They are actually bypassing the usual consensus reality filters (because they reside in an acceptable form, i.e. TV/film/music/words) and traveling directly into “historical” sections of the brain, triggering all and every conscious and unconscious reverberation to do with that one splinter hieroglyph.

We access every variable memory library and every individual human being who’s ever for a second connected with, conceived or related to or been devoted to or despised or in anyway been exposed to this splinter of culture.

We now have available to us as a species, really for thee first time in history, infinite freedom to choose and assemble, and everything we assemble is a portrait of what we are now or what we visualize being.



We are choosing splinters consciously and unconsciously to represent our own mimetic (DNA) patterns, our own cultural imprints and aspirations; we are in a truly magical sense invoking manifestations, perhaps even results, in order to confound and short-circuit our perceptions, and reliance of wholeness.

Anything, in any medium imaginable, from any culture, which is in any way recorded and can in any possible way be played back is now accessible and infinitely malleable and useable to any artist.

Everything is available, everything is free, and everything is permitted. It’s a firestorm in a shop sale where everything must go.

The “edit” in video and televisual programming and construction is in essence an invisible language in the sense that our brain reads a story or narration in a linear manner, tending to blend, compose, and assemble as continuous what it primarily sees at the expense of reading the secondary sets of intersections and joins that it does not consciously, or independently, see. Yet the precision of choice in where to edit, and thee specific emotional and intellectual impact and innate sense of meaning that is thus specifically conveyed is as much a text of intent and directed meaning, even propaganda,

as is the screenplay or dialogue itself.

Everything in life is cut-up. Our senses retrieve infinite chaotic vortices of information, flattening and filtering them to a point that enables commonplace activity to take place within a specific cultural consensus reality. Our brain encodes flux, and builds a mean average picture at any given time. Editing, reduction of intensity and linearity are constantly imposed upon the ineffable to facilitate ease of basic communication and survival. What we see, what we hear, what we smell, what we touch, what we emote, what we utter, are all dulled and smoothed approximations of a far more intense, vibrant and kaleidoscopic ultra-dimensional actuality.

Those who build, assemble. ASSEMBLY is thee invisible language of our TIME. Infinite choices of reality are thee gift of “software” to our children.



“And they did offer sacrifices of their own blood, sometimes cutting themselves around in pieces and they left them in this way as a sign. Other times they pierced their cheeks, at others their lower lips. Sometimes they scarified certain parts of their bodies, at others they pierced their tongues in a slanting direction from side to side and passed bits of straw though thee holes with horrible suffering; others slit thee superfluous part of their virile member leaving it as they did their ears.”


If history is any clue, the succession of civilizations is accompanied by bloodshed, disasters and other tragedies. Our moral responsibility is not to stop a future, but to shape it: To channel our destiny in humane directions, and to try to ease the trauma of transition. We are still at the beginning of exploring our tiny little piece of the omniverse. We are still scientific, technological, and cyberspace primitives; and, as we revolutionize science itself, expanding its perimeters, we will put mechanistic science—which is highly useful for building bridges or mak ing automobiles—in its limited place. Alongside it we will develop multiple metaphors, alternative principles of evidence, new loggias, catastrophe theories, and new tribal ways to

separate our useful fictions and archetypes from useless ones. The scattered shapes of this new civilization will be determined by population and resource trends; by military factors; by value changes; by behavioral speculations in fields of consciousness; by changes in family structures; by global political shifts; by awakened individual Utopian aspirations; by accelerated cultural paradigms and not by technologies alone. This will mean designing new institutions for controlling our technological leaps into a future. It will mean replacing obsolete political, economic, territorial, and ecological structures. It will mean evolving new micro-decision making systems that are both individually and tribally oriented synthesizing participation and initiation and new macro-decision making systems that are digitally spiritual and revealingly autonomous. Small elites can no longer make major technological, ecological, or economical decisions. Fractally anarchic clusters of individuals with integrated extended family structures and transhuman gender groupings must participate and calibrate what stretches out before them in a neo-pagan assimilation of all before—NOW!—and to be.

Imagine, if you won’t, that you are a subversive in this future. You conspire to be hidden by the use of the word. This act could move you into a position of becoming a co-conspirator in the process of desecration.

“It will BE because It is inevitable” Old TOPY proverb.

We plough the field and scattering the would-ship of our plan.



In the future the spoken word will be viewed as holding no power or resonance and the written word will be viewed as dead, only able to be imbued with potential life in its functional interactions with what will have become archaic software and programming archaeologies, namely speech. That is, just as a symphony orchestra preserves a museum of music, of music considered seminal and part of a DNA-LIKE spiral of culture; so, the word will be seen as the preservation vehicle in a DNA-like chain of digital break- throughs and cultural intersections. The word will be viewed, not as a virus that gave speech, nor as the gift of organic psychedelics through which civilization (i.e. living in cities) was made so “wondrously” possible, but, as a

necessary language skill for those specializing in thee arcane science of Software Archeology, or SoftArch Processing, as it will become known, in much the same way as Latin was for so long a required subject and qualifier of scholarship at prestigious universities when the drone majority found it incongruous, if not ludicrous. Of course individuals will be utilizing laser based systems to access and exit the neuro-system via the retina and these systems in turn will transmit, wirelessly, to a new breed of computers using liquid memory instead of micro-chips. If we are to disbelieve what we don’t hear, then conversation will be a status symbol of the leisured classes and power elites. As ever the same processes that delineate power, in this case, a perpetuation of an atrophied communication system, i.e. words, will always be appropriated by those who position their means of perception at an intersection diametrically opposed to those who oppress with it, for it, or because of it. Put simply, any form of literal or cultural weapon pioneered by authority will some day be used by “esoterrorists” bent upon destabilizing and/or, at least temporarily, destroying its source. The poles become clearer, thine enemy more known, as the mud settles and we protagonists are exposed standing shakily on our rocks, above the Golden Section and visible to all who would disown and destroy us. It is in this spirit that this work was created.

Imagine, if you won’t, that you are a subversive in this future. You conspire to be hidden by the use of the word. This act could move you into a position of becoming a co-conspirator in the process of desecration. To conspire literally means “to breathe together.” Thee all pervading surveillance systems are—NOW!—so digitized that they have no voice recognition software, this has also been manifested to protect the conspiracies and debaucheries of the Control species themselves.

“Hell, even Deities need privacy, son. We used to plot murders and takeovers in saunas, then bug-proof buildings, now we just talk, son, no one out there listening, all just PLUGGED IN.”

One fashionable lower class, blue-collar medical expense is the vocal chord removal process. It’s taken as a status operation. A clear signal to one’s contemporaries that your software interface is so advanced that you need never consider the use of speech ever again.

The word is finally atrophied. No longer a dying heart, but dead. The bypass

is on. So here you are. You FEEL something is out of balance, you TALK. They TALK. The world swims in silence. The only place of secrecy is a public place, the only manner of passing on secrets is talking out loud. Neither protagonist is aware that the other is TALKING. If they were all Hells would be let loose.

Forcible vocotomies in the street, subversives held down at gunpoint, their chords lasered out in seconds. Loud laughter of a rich vocotomy tout, the ultimate status signal “of power.”

Know the WORD is gone, its power defused, diffuse, in order that these scriptures of the golden eternity be fulfilled.

In the ending, was the WORD.

As a recipient of this cluster you are encouraged to recall, and remain constantly vigilant of the dilemma it exposes.

It hungers for the death of the word. Rightly so, for we are imprisoned in the naming sorcery that was both built, and solidified within the process of Control, and more critically and integral to it, submission and subservience.

This death is craved intrinsically by all in order that a showdown may occur, as the World Preset Guardians laser burn their retina of lust for result. The WORD wills to go. It is here to go.

Thee Brain Computer interface will replace all verbal media of communication, for bitter or wars, the new being merely that which is inevitable. Nurse it along so that it may become a living intelligence system. Thee Museum of Meanings.

What wills to be reborn wills vary with the input of the user.

Debug the old preset programming. Leave only an empty timezone that you might later fill with your will and clarity of intent.




Cause the cathode ray tubes to resonate and explode. You are your own

screen. You own your own screen.

In this hallucinatory state all realities are equal. Television was developed to impose a generic unity of purpose: The purpose of “control.”

Watching television patches us into the global mixing board, within which we are all equally capable of being victim or perpetrator. The Internet carrying audio/video, text, pictures, data and scrap books via modem actually delivers a rush of potentiality that was previously only advanced speculation. The lines on thee television screen become a shimmering representation of the infinite phone lines that transmit and receive. We have an unlimited situation. Our reality is already half-video. In this hallucinatory state all realities are equal. Television was developed to impose a generic unity of purpose: The purpose of “control.” To do this it actually transmits through lines and frequencies of light. Light only accelerates what the brain is. Now we can, with our brains, edit, record, adjust, assemble and transmit our deepest convictions, our most mundane parables. Nothing is true, all is transmitted. The brain exists to make matter of an idea; television exists to transmit the brain. Nothing can exist that we do not believe in. At these times consciousness is not centered in the world of form, it is experiencing the world of content. The means of perception wills to become the program. The program wills to become power. The world of form wills to thereby reduce the ratio of subjective, experiential reality, a poor connection between mind and brain. Clusters of temporary autonomous programs globally transmitted, received, exchanged and jammed will generate a liberation from consumer forms and linear scripts and make a splintered test of equal realities in a mass political hallucination transcending time, body, or place. All hallucinations are real, but some hallucinations are more real than others.

We create programs and “deities,” entities and Armageddons in the following way: Once we describe, or transmit in any way, our description of an idea, or an observed, or an aspired to ideal, or any other concept that for ease of explanation we hereafter will to describe as a “deity,” we are the source of it.

We are the source of all that we invoke. What we define and describe exists through our choosing to describe it. By continued and repeated description of its parameters and nature, we animate it. We give it life.

At first, we control what we transmit. As more and more individuals believe

in the original sin of its description, and agree on the terms of linguistic, visual and other qualities, this “deity” is physically manifested. The more belief accrued, the more physically present the “deity” wills to become. At a certain point, as countless people believe in, and give life to that described and believed in, the “deity” wills to separate its self from the source. It then develops an agenda of its own, sometimes in opposition to the original intent and purpose of the source. The General Order at this intersection becomes go and it continues to transmit to our brains. Our brains are thus a Neuro-Visual Screen for that which has separated from its source and become a “deity.” This is in no way intended as a metaphor, rather a speculation as to the manner in which our various concepts of brain are actually programmed and replicated. In an omniverse where all is true and everything is recorded, as Brion Gysin wondered, “who made the original recordings?” Or in more contemporary jargon, who programmed the nanotech software? Our response can only be a speculative prescience: The Guardians who exist in an—at present—unfathomable other world and preset the transmissions in some, as yet, mysterious way.