Cosmic Trigger Play and The Tale of The Tribe


"Fuck God In The Ass"--Ed Sanders

"If you can't say FUCK in public, then the terrorists have won.--D. Scott Apel.

Towards the radical abolition of time as history, in favour of a more flexible playtime where 1994 and 1977 (for example) feedback to each other through the porthole of stagecraft. The Strange Intimacy in the dramatic plays of W.B Yeats, partly influenced by Ernest Fenollosa and his contact with the Noh play tradition of Japan. Within, the accumulation of techniques taken in the Poundian' sense of that phrase. The exploitation of lighting, stage projection, sound effects and costume all-at-once in a Wellesian' fashion, sharp transitions. Ritualistic and ceremonial jams with space for improvisation and embellishment, yes. The fair and rare scientific language of higher states of consciousness, further clarified and made new by actors and stage magix, singing, dancing, shouting.

The process of time and humans gathered together: actors, props, lights, sound, projections, choreography, costume, writing, production, promotion, not to mention food travel shelter and personal hygiene. All this, ALL THIS came together in a unique intersection point, or series of intersection points, to lean on a phrase from Burroughs. The words and the lights and the sounds and the ears hearts minds and bodies of both performers and co-conspirators, the audience co-mingled, wrestled together with a Robert Anton Wilson Universe.

Often times i felt the words jump of the script and into the walls, or the mouth or face of another. Letters are OFF the wall. Language of poetry thrown up onto the stage, balls and all. Total transformation of mind and ALL that resembles it. The sheer rush of hearing the wise words of RAW, and many of his cohorts projected into the air with such finesse, attention to inflection, cadence, the swing of the word, amped-up expressive decoration and embroidery.

Cosmic Trigger Play, in my humble opinion, and to curve your ear a little, might have been to the delight of RAWs tribe. I mean to say, RAWs unfinished great work 'The Tale Of The Tribe' criss-crosses with Cosmic Trigger Play in that TTOTT players William Butler Yeats, Marshall McLuhan, Orson Welles, and Perhaps Joyce and Pound may have enjoyed the stage play IMHO...Bruno, Vico, Nietzsche, Fenollosa, Shannon and Bucky too (google em' & git bck. to me with yr/ thoughts) I'm getting at, or digging into an idea about the hermetic nature of theatre, the multi-media of it ALL, and how the new play satisfies many of the quality critters that Robert Anton Wilson invoked in his last great unfinished work TTOTT. At least TTOTT represents the direction i would like you, dear reader, to ramble into. Please excuse my using it as a playful spring board to get into reviewing the play itself.

RAW would have been moved and inspired if he were around to see the Cosmic Trigger Play. He would have loved it. Sorry to invoke a cliche' yet i think it important to consider RAWs position on current events, and not just political and or metaphysical but concerning the creative arts and new media, to attempt to reconsider some of his critical thoughts on the art and culture, social psychology and a further refined focus on theatre. Makes sense right? (you can find all the details about the who to the what now if you type 'Cosmic Trigger Play' into any search engine. But wait.

Okay, maybe the best way to push onwards is git' the 23K (x4) and do it all again. Cosmic Trigger pulling remains an open game, the new Universe sits gleaming in the moonlight. Sparkling, full of stars orbiting planet word. A Cosmic Trigger Play pulled off and etched into the mind-body-speech of a sleepless crew of initiates. A crew ready to roll. Let's go get em'. (Already feeling terribly confined here in word-world, trying to talk a bit about Bob and the TTOTT and the play and ALL).

Tom Robbins once stated words to the effect that if roughly 15% of the population were reading and acting upon the works of Robert Anton Wilson we might see a new enlightenment/renaissance, or something equally epic and encyclopedic. Of course i agree, and you can find loads of my writings across the web echoing this sentiment. READ HIM. Go to the source.

The tale of the tribe brings together a dozen innovators from history, reaching back to Giordano Bruno (16th century) and into the 21st Century (Claude Shannon). A current of renaissance men, who share a part to play in both the gestation of ideas and influences upon Robert Anton Wilson, and upon Internet. Yes, INTERNET. RAW seemed to be a BIG fan of Internet. I feel he would have supported Wikileaks, Snowdon, EFF, Open Source Projects, Chaos Computer Club meetings, Anonymous, Aaron Swartz, Jacob Applebaum, Cory Doctorow and most Internet rights activists. And i think he would find facebook an amusing distraction from his hologrammic prose.

Lets co-create a new Universe or theatre of the mind, where each and everyone of us can think and act in multiple dimensions, working on many levels, in synchrony, considering set and setting, speech and place-time. Making the invisible visible. Let's do it again to the gates of eternity.



Thanks to those wise beings who donated food to the backstage area and those who were kind enough to buy a cast or crew member a well deserved drink. Greg and Wolfy and the Liverpool crew. Mario Dimaggio of Immersive Dome Theaters, and Toby Philpott who helped manage the Maybe Logic Dome at the Find The Others Festival, and all the other performers and exhibitors. The London Film crew who set up at lost, the random helping hands all over the place, the Cosmic Trigger Band, optimistic ideas from Harvey Webb, music and good vibes from Youth, and the phalanx of other musicians and DJs who performed at the 'Find The Others' festival, and those who played in London. My friends Emily, Scott Groves and Kev Lane for showing up. Lisa Lovebucket and crafts, Beccy Strong photography, Jonathan Greet photography. And on...

All the strong willed ones who helped transport the entire set and many of the crew back and forth to locations in Liverpool, and in London.Special thanks to John Sinclair, Caleb Selah, CHU and all those who supported the crowd fund launch party and donated time, services, equipment and money to the whole trigger pulling process. Alan Moore for continued support. All the supportive video clips from Douglas Rushkoff, Nina Conti, Irving Rappaport, Alan Moore, Jamie Reid, Bill Nye, John Higgs and those i forgot. To Jack Sarfatti for agreeing to meet with Nic Alderton for an interview in S.F. Special thanks to Rick Rasa, Sandhya Sanjana, Michael Ray, Matt Black, Youth, Tim Eggmond, Dominick Clementson, Caleb Selah and all the voices of the cast for all the musical contributions.

A standing ovation for the hundreds of cuddly crowd-funders and thousands of supporters across the planet who re-tweeted, forwarded by email or better yet spread the word-by-mouth of the impossible play made possible. Big up. And a nice one to the reviewers and those who published in support of the project, in particular the Liverpool Confidential and the Independent. And, finally, to those who did not get a mention, it really sits with you now, so thanks in anticipation. I feel fortunate to have had such a schooling process collaborating with the following sleepless crew:

Oliver Senton - Robert Anton Wilson
Kate Alderton - Arlen /Jano Watts / Miss Portinari
Dixie Mcdervitt - Luna / Ensemble
Lee Ravitz - Kerry Thornley / Simon Moon / George Dorn
Andrew Mackbean - Dr Timothy Leary / Hagbard Celine
Josh Darcy - Ken Campbell / Gary Kerstein / Greg Hill / Ensemble
Tom Baker - Aleister Crowley / Robert Shea / Ensemble
Daisy Campbell - Mavis / Prunella Gee
Claudia Egypt Bolton - Eris / Ensemble
Robert Wells - Slim / Goat Boy / Ensemble
Katy-Anne Hellis - Karuna Wilson / Angel / Paula / Ensemble
Larry Sidorczuk - Albert Hoffman / Ensemble
Nick Helweg Larson - Postman
Irving Rappaport - Jaques Vallee / George Harvey Webb / Ensemble
Peter Wilson - William Burroughs
Nick Marcq - Alan Watts
Michele Watson - Lead Ensemble
Amanda Maye Steele - Ishtar (wed/thu/sat mat)
Elizabeth Sandford-Richardson - Ishtar (fri)
Katy Claire - Ishtar (sat)
Robert K.G Temple - As himself (sat)

Daisy Eris Campbell - Writer and Director
Michelle Watson - Conferestival Director
Dominic Search - General Manager & Webtech
Nadia Luijten - Stage Manager & Social Media
Claudia Boulton - Production and Popery
Nic Alderton - Production, perks and Film
Polly Wilkinson - Graphic Art & Merchandise
Scott McPherson - Projections and Virals
Steve Fly - Music Director
Chris Farncombe - Lighting Design
Sadie Spencer - Lighting Desk
Padrigo Brown - Scenery & Props Maester
Dominick Clementson - Sound Desk (wed/thur)
Josh Chedwin Evans - Sound Desk (fri/sat)

Christian Wach - Website Design
Jonathan Greet - Stills Photography
Andrew Ab - Stills Photography
Adam Clark - Stills Photography
Bobby Campbell - Initial Artwork
CHU - Illuminatus Set Painting
Gary Acord - Initial website hosting
Lee Isserow - Camera Liverpool
Michelle Olly - Promotions & Vibes

one eye triangle.jpg


thus was it in time
here with discordian sounds
of Sun Ra and Tim Leary
in my head 1973 1993 to infinity
time has come ready

1950s & 1990s mixed with
Nixon era cointelpro paranoia
3 stooges of interplay
on many levels

Bogart and Saul Goodman
totally Orson unhinged
gates of eternity
hyperreal investigation

trigger pulled
lasagna launched
comets and interstellar
regions crossed
acid Crowley Lilly love scene

timespace and speechspaces
reshaped to travel-time
the eternal nowness of
Robert Anton Wilson
Universe breathing
chanting enochian

captured and shored by
Daisy Eris and her pirate ship
of initiates bound for planet mu
mu unbound from the page to
the stage pulling it all

blowing minds out of time
light body voice speech
enactments towards
cosmic trigger
with claritas humanitas
and hilaritas

Black Mass Scene - Visual Projections and Photo by Hagbard Celine









Steve Fly at the drums - Photo by Jonathan Greet


Rawillumination on Cosmic Trigger Replay

Thanks once more to Tom Jackson over at Rawillumination, for the heads up.

--steve fly


Reminder for new Maybe Logic course on RAW

Bogus Magus, aka Toby Philpott
The new Maybe Logic Academy course on Robert Anton Wilson is just around the corner — Sept. 23 — and features Bogus Magus (aka Toby Philpott), Bobby Campbell, Propaganda Anonymous and Steve "Fly Agaric" Pratt, a kind of Anglo-American all star team.  The official announcement and more details are here; you pay whatever you can afford.

Pratt organized the course and recently emailed me about how it came about.

"When i got news of the 'Find The Others' festival, scheduled for the day after the Cosmic Trigger stage play in Liverpool, (23rd November) i saw a doorway of opportunity to reignite the MLA community, and ride shotgun with the rising tide of RAW activities. The MLA MGT also shared the vision, so it goes.

"Bogus, Bobby and Prop were in typical kindhearted agreement to create something new, and each shaped up a two week prescription to trigger cosmic integrity in the minds of the people. I would also like to thank the MLA webmaster, for engineering the back-end of the class and bringing valuable feedback. Bobby provided all visuals without missing a beat, in the tradition of the community spirited artist movement of the 1960s.


Corso Corsi - Ricorsi Ricorso?

Vico and Joyce edited by Donald Phillip Verene http://ettt.wikispaces.com/RECORSI


Cosmic Trigger Replay: Maybe Logic Class. Sept 23 to Nov 23

Come join a crash course cosmic adventure through the lives and ideas of Robert Anton Wilson!

The Maybe Logic Academy is once again opening its invisible doors for an intensive 8 week RAW workshop, which leads directly into the premier of the highly anticipated stage adaptation of RAW’s Cosmic Trigger by Daisy Eris Campbell!

The workshop is divided into four 2 week sessions, presented by MLA Alumni: Steve Fly Agaric, Propaganda Anonymous, Toby Philpott aka Bogus, and Bobby Campbell.
Whether you are a new initiate to the Maybe Logic chaosmos, or a fully vested Ascended Master of all things maybe, there will be an abundance of RAW delight!
 The secret society reconvenes on September 23rd, come find the others here at: maybelogic.net
(Suggested donation €23, but pay what you will shall be the whole of the law)
For more info check out this smorgasbord of flying lasagna!
SECTION 1: RAW Artists Workshop
Presented by Steve Fly Agaric

A collaborative jimjam of like minded mutants and MLA critters creating new meps and mapaphors to help find the others just in time for space migration.
“The biosphere—Gaia—the DNA script—is more intelligent than all individuals. Gene-pools and species. It has survived everything thrown at it for nearly 4 billion years, and is getting smarter all the time.”--RAW, Prometheus Rising, pg.181.


Presentation: RAW & the tale of the tribe
Workshop: Language of poetry & eggshells

“The instrument that measures all other instruments—the human nervous system—has its own laws, and one of them involves always seeing the results one wants to see until and unless something really startles the brain enough to reframe its experiences.”--RAW, Dangerous Experiments, Cosmic Trigger III, pg134.


Presentation: RAW360.net
Workshop: No place place like dome

SECTION 2: Perilous Lessons from the Chapel of Ill-Repute
Presented by Propaganda Anonymous

Workshop: RAW's 8 Elements of Conspiracy Theory
Presentation: Lots of Cussin and Discussin this presentation of Wilson's analysis
Workshop: The Anthropological Approach to Conspiracy Theories
Presentation: More Discussions and Cussin about the 'Illuminati' Conspiracy Motif, plus more!

SECTION 3: The Latest Model
Presented by Toby Philpott aka Bogus

In which we examine the language we us to describe the world, and the models we develop to try to explain it, or at least find our way around.
Presentation:  Language as a virus
Workshop: Using E-Prime for a week – an exercise to help us evaluate the words we use, and communicate more clearly


Presentation:  Models of the Mind, with special reference to the 8 Circuit Model
Workshop: Discussion of the model, experiences with it, variations and alternatives – "all models need revision, when new information comes in."

SECTION 4: The Cosmic Giggle Factor
Presented by Bobby Campbell

Wherein we will endeavor to use the whimsical magic of art & technology to unleash the RAW power of change in ourselves and the world. PULL MY FINGER!

“The world is not only stranger than we imagine, it is stranger than we can imagine.”
– J. B. S. Haldane

Presentation: The Great Magician
Workshop: Metaprograms & Sigils

Presentation: Operation Mindfuck
Workshop: RAW Memetics




The greatest guidebook to media study ever fashioned by man

"Finnegans Wake is the greatest guidebook to media study ever fashioned by man."

Marshall McLuhan,
Newsweek Magazine, p.56, February 28, 1966.


Nunn ArisTTOTTelian

Pound & Joyce supplement each other
like Jefferson & Adams
each created a NEW non-aristotelian
for the tale of the tribe--Robert Anton Wilson,
            tale of the tribe, 2005. (Maybe Logic Academy Class)


Finnegans Wake as "the "headless One" "The One with no Beginning"?

 Just musing, and came across the bornless rite and went straight to the wake as...the ONE with no beginning?
steve fly

In its original form this ritual is very old. Many of the "barbaric names" used in it are from the Ancient Egyptians. Others are to be found among the Greek Gnostics. Most of the more identifiable ones are from Merkabah Qabalah. In the original form, "The Bornless One" is called the "headless One" --- meaning "The One with no Beginning". The original form of this ritual was used for exorcism, but this and other later forms have been used to attain the Knowledge and Conversation of the Holy Guardian Angel.

Japanese Noh Play: Chant and music (from wikipedia)

Chant and music

Hayashi-kata (noh musicians). Left to right: taiko, ōtsuzumi (hip drum), kotsuzumi (shoulder drum), flute.
Noh theatre is accompanied by a chorus and a hayashi ensemble (Noh-bayashi 能囃子). Noh is a chanted drama, and a few commentators have dubbed it "Japanese opera". However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range. Clearly, melody is not at the center of Noh singing. Still, texts are poetic, relying heavily on the Japanese seven-five rhythm common to nearly all forms of Japanese poetry, with an economy of expression, and an abundance of allusion. The singing parts of Noh are called "Utai" and the speaking parts "Kataru".[7]

The chant is not always performed "in character"; that is, sometimes the actor will speak lines or describe events from the perspective of another character or even a disinterested narrator. Far from breaking the rhythm of the performance, this is actually in keeping with the other-worldly feel of many Noh plays, especially those characterized as mugen.

Noh hayashi ensemble consists of four musicians, also known as the "hayashi-kata". There are three drummers, which play the shime-daiko, ōtsuzumi (hip drum), and kotsuzumi (shoulder drum) respectively, and a shinobue flautist.


Frances Yates and the Mnemonic Works of Giordano Bruno

After Warburg's death in October 1929 and the migration of the Institute to London in 1933, Brunian studies at the Warburg Institute took a very different direction thanks to the research of Frances Yates (1899-1981). While Warburg's interest in Bruno and image-based thinking brought his philosophy towards the present, Frances Yates' hypothesis of an Hermetic Bruno rooted his thought in a distant and partly mythical past at the antipodes of modern times. Nevertheless, while her Giordano Bruno and the Hermetic Tradition (1964) takes a different path from that traced by Warburg, her other Brunian study, The Art of Memory (1966), is perhaps her book closest to Warburg's preoccupations. Indeed the history of mnemonics practices, by means of which mythological figures lived from the Antiquity onwards as animated bearers of learning in the intimacy of the human brain, had everything to interest Warburg. In fact the Art of Memory was written in close consultation with Gertud Bing as confirmed by this excerpt from the preface: 

Now that the Memory Book is at last ended, the memory of the late Gertrud Bing seems more poignantly present than ever. In the early days, she read and discussed my drafts, watching constantly over my progress, or lack of progress, encouraging and discouraging by turns, ever stimulating with her intense interest and vigilant criticism. She felt that the problems of the mental image, of the activation of images, of the grasp of reality through images – problems ever present in the history of the Art of Memory – were close to those which preoccupied Aby Warburg, whom I only knew through her.
Frances Yates expounded the first results of her research on Bruno's art of memory in a seminar at the Warburg Institute in 1952. She showed her reconstruction of the wheel described in the De Umbris Idearum, Bruno’s first mnemonic work published in Paris in 1582. The two wheels illustrated below are part of the same work and serve as an introduction to using the larger wheel.

In the first fixed ring the practitioner will assign a mythological or heroic figure to each letter. Bruno provides some examples : A Lycaon; B Deucalion; C Apollo; D Argos ... (see De Umbris Idearum, pp. 107 ff). The letters of the second ring correspond to an action or a scene associated with each figure. The examples provided are: AA Lycaon at a banquet; BB Deucalion and pebbles; CC Apollo and Python; DD Argos and some cattle (ibid, p. 112). Thus rotating the first inner ring operates permutations between the figures and their action. Further permutation occurs when the third wheel is set in motion. It contains attributes or enseignes which can be easily passed from one figure to another. Bruno provides only four examples and leaves the rest to the imagination of his reader. These are : AAA, Lycaon at a banquet with a chain; BBB, Deucalion and pebbles with a headband; CCC, Apollo and Python with a baldric; DDD, Argos and some cattle with a hood. This way the systems makes it possible to create combinations of letters representing words, acronyms or syllables to be remembered by means of animated images mixing the attributes and accustomed actions of familiar mythological figures.

BAA: B Deucalion A at a banquet A with a chain
MAD: M Perseus A at a banquet D with a hood
CAD: C Apollo A at a banquet D with a hood
COD: C Apollo O and Proserpina D with a hood

To approach the larger wheel Bruno advises his reader that `...it is necessary to dilute the printed page into an immense space'. The last section of De Umbris idearum describes the content of  the larger wheel over 40 pages. It consists of five concentric rings divided into 150 rays each subdivided in 5 cells. On the outer rings are numbers, letters, the name of inventors followed by four more wheels of words corresponding to the categories of agent, action, enseignes, attributes (adstans) and circumstance.

Frances Yates reconstruction of Giordano Bruno memory wheel from `De Umbris Idearum' - Click the image to access full version (PDF 1.5 mb)
`How did the system work? By magic of course, by being based on the central power station of the … images of the stars, closer to reality than the images of things of the sublunar world, transmitter of the astral forces, the `shadows’ intermediary between the ideal world above the stars and the objects and events in the lower world.’ (The Art of Memory, p. 223)

This interpretation, based on a misplacing of the images of the planets, was first revised by Rita Sturlese in her critical edition of the De Umbris  of 1991 (pp. LXVIII ff.) and later by Francesco Torchia (‘La chiave delle ombre’, Intersezioni, 1, 1997, pp. 131-151).

Both scholars strip Bruno’s construction of its magical character. According to Sturlese the wheel is in fact an adult toy conceived to learn foreign words. Here each ray corresponds to a set of syllables combining one consonant with one vowel. Thus reconstructing a word with its phonetic constituents amounts to combining the various elements of each section. The addition of the images described in the last ring before the hub creates in the end a mnemonic background by means of which new words can be remembered. For instance to remember the word Numeratore you should pick the first syllable in the outer ring, NU, which corresponds to `Apis’; the second syllable in the second ring, ME: `in tapeta ’; the third syllable, RA, in the third ring: `deploratus’; the fourth syllable, TO, from the 4th ring: `compedes’; and finally RE in the 5th ring. This last ring  provides a background against which to set the image thus created:  `…mulier super hydram tres cervices e quarum singulis septem exiliunt capita habentem, vacuas antrorsum tendens manus’ (De Umbris, p. 151)


poets who spoke in poetic characters' Vico and the artificer

While modern theories of knowledge begin with something present to the mind - e.g., Descartes begins with self-evidently true, clear, and simple innate ideas - Vico, begins by asking how it is that the mind comes to have anything present to it at all (Verene, 1981).
And it is precisely to this question that Vico claims to have an answer, indeed, it is the master key of his science. "We find," he says,
"that the principle of these origins both of languages and of letters lies in the fact that the early gentile people, by a demonstrated necessity of nature, were poets who spoke in poetic characters. This discovery, which is the master key of this Science, has cost us the persistent research of almost all our literary life, because with our civilized natures we moderns cannot at all imagine and can understand only by great toil the poetic nature of these first men" (para.34, my emphasis).
But to understand what he means here by saying that the early people were, by necessity, poets (where the word "poet" is from the Greek poitetes = one who makes, a maker, an artificer), we must divide the process of making involved into two parts: i) the first, to do with the forming of a sensory topic, and ii) the second, with the forming of an imaginary universal which, from a 'rooting' in it, 'lends' the topic a determinate form.--John Shotter, CMN/UNH, http://pubpages.unh.edu/~jds/VicoNotes.htm

world-around, satellite-interrelayed computer system and its omni-Universe-operative (time-energy) accounting system

world-around, satellite-interrelayed computer system and its omni-Universe-operative (time-energy) accounting system--Bucky Fuller

The United States of America is not a nation. Nations are large tribes of humans that have been geographically isolated for millennia and have progressively inbred the physical types surviving under those unique geographical conditions. As mentioned, the U.S.S.R. had 146 naturally evolved nations" to integrate, the physiognomies of each U.S.S.R. nation looking quite different from the others'. The United States of America is a crossbreeding integration of humans from all the nations of the planet Earth; though often speaking of itself as the United States of America, it is not America. Its population is only one-half that of North and South America. The North Americans, consisting of Canadians, the U.S. citizens, and Mexicans, are evolutionarily cross-breeding into a single hybrid family of world humans. ...

It is the invisibility of the alloys and chemistries and of the electronic circuitry of the design science revolution which finds that revolution to be as yet uncomprehended and ignorantly opposed by humanity's reliance only on yesterday's politically visible means of problem-solving. It is both the invisibility and misinformedness that occasions the lack of spontaneous popular support of the invisible design science revolution by the most powerful political and money-making systems. Big government can see no way to collect taxes to run its bureaucracy if people are served directly and individually by daily cosmic-energy-wealth income. Money-makers cannot find a way of putting meters between people and the wind, Sun, waves, etc. Neither big government nor big business pays any serious attention to the fact that we can live on our energy income, rather than on nature's energy savings account (fossil fuels), or by burning our Spaceship Earth's physical hull, which consists entirely of atomic energy in the form of matter. ...

World Game will become increasingly effective in its prognoses and programming when the world-around, satellite-interrelayed computer system and its omni-Universe-operative (time-energy) accounting system are established. This system will identify the kilowatt-hour-expressed world inventory of foods, raw and recirculating resources, and all the world's unique mechanical and structural capabilities and their operating capacities as well as the respective kilowatt-hours of available energy-income-derived operating power with which to put their facilities to work. All the foregoing information will become available in respect to all the world-around technology's environment-controlling, life-sustaining, travel- and communication-accommodating structures and machines. - Buckminster Fuller - Critical Path

The Geoscope is a large-scale, animated globe of the Earth intended to help people visualise the spatial and temporal patterns of human activity, either in real time or replayed at different speeds. If the human mind is presented with all of this information at once, it should be able to use its visual pattern-detecting abilities to solve complex problems such as weather-forecasting, resource conflicts, and wars (p. 183). Data for the Geoscope can come from the world maps produced by the USA, using radio triangulation, during and after World War II (p. 184). Geodesic domes will be built to enclose entire cities (p. 179). --Critical Path


Bucky Fuller predicts atomic-scale computers forty years before graphene semi-conductors

The clearly stated work is a transcription of a recording Fuller made in the late 1960s. The transcriptions reside in Box 9, Folder 3 of the Stanford University Special Collection of R. Buckminster Fuller. The transcriptions document a series of discussions between Fuller and his patent attorney, D. Verner Smythe. The patent was not pursued and does not appear in Inventions, Fuller’s book of patents. The subject of the patent does, however, appear in Fuller’s magnum opus, Synergetics (1975 and 1979). To understand a node of Fuller’s thought requires tracing an idea across many other nodes of Fuller’s thought. But by tracing a line from diary entries through transcribed monologues through published books, Fuller is shown to predict atomic-scale computers nearly forty years before today’s discussion of graphene semi-conductor computers.--http://synchronofile.com/buckminster-fullers-ultra-micro-computer/

 By the time the phrase “never show half-finished work” appeared in his book Critical Path (1981), “Universal Requirements Checklist” had been renamed “Comprehensively Anticipatory Design Science’s Universal Requirements for Realizing Omnihumanity Advantaging Local Environmental Controls, Which are Omniconsiderate of Both Cosmic Evolution Potentials and Terrestrial Ecological Integrities.”--http://synchronofile.com/buckminster-fullers-ultra-micro-computer/


Steve Fly Musical Director for Cosmic Trigger play

“Steven ‘The Fly’ Pratt is a native of Stourbridge UK now an Amsterdam resident who plays drums, spins vinyl, writes novels and literary and cultural commentary.” —John Sinclair.Traveled to Palm Springs, C.A, acting as executive assistant to Robert Anton Wilson at the Prophets Conference (2000)

Worked as associate producer with Deepleaf Productions and Robert Anton Wilson on the award winning documentary movie Maybe Logic: The Lives and ideas of RAW (2003) Founding member and faculty staff at the Maybe Logic Academy studying alongside RAW, in 2010 led his own MLA class: email to the tribe.

Currently involved in innovative uses of new media. As creative director involved in a long term work in progress dedicated to the presentation and exploration of RAW explanations and theories. The project has guaranteed contributions from the Robert Wilson Anton Wilson estate, Maybe Logic Academy, Paul Krassner, Coldcut, Kid Koala, DJ Food and the Cinematic Orchestra.

c. 150 gigs as a drummer, 100 DJ turntablist appearances, with Reggie Watts, Bernie Worrell – P_Funk, Benny Reitveld – Miles Davis & Santana, Leo Nocentelli – The Meters, , Tal Morris – Credence Clearwater Revival, Rasaki Aladokun – King Sunny Ade. Festivals: Glastonbury, Burning Man, High Sierra.

“…a soundtrack of jazzy turntablism and live drumming provided by a Stourbridge native living in Amsterdam (enough said!).” –Q Magazine. Mohawk Album Review April 2014.



The RAW-OTO-Illuminati Rabbit Hole

Over the years (as RAW notes in Cosmic Trigger) some suggested that he was the Real Head of the Illuminati, which of course RAW would never actually confirm or deny—not because it was either true or false—but because it was more amusing to let people believe whatever they wanted to believe… and it probably didn’t hurt book sales of Illuminatus!either. Whatever the case, around 2003 I posed to RAW this very same question, inquiring if he was indeed the one and only Head of the Illuminati, and his answer, in typical satiric fashion, was “No, I’m the toe.” This wasn’t exactly the response I was looking for, but just the same I asked if he’d appoint me an Illuminati High Priest, to which he didn’t hesitate one second: “You are hereby appointed.” And although this lofty position hasn’t improved my sex life or finances to any measurable degree, you must admit it’s one hell of an honor belonging to a secret order associated with Robert Anton Wilson.--Adam Gorightly, http://historiadiscordia.com/the-raw-oto-illuminati-rabbit-hole/


Bucky Fuller and Alfred Korzybski: the comprehensivists.

Bucky Fuller, another renowned student of general semantics, named such thinkers “comprehensivists.” Fuller was himself an iconic representative of the comprehensivists.


tale of the tribe and the sirius mystery

The tale of the tribe contact high.

Fuck off, and welcome to another installment of my blog--a tale of the tribe--that aims to offer a resource of specific information related to the great complex and generally hidden project (unfinished) tale of the tribe, by the late Robert Anton Wilson.

Since a recent positive explosion of interest in Robert Anton Wilson across the United Kingdom due, in part to the brilliant book by John Higgs about the the KLF featuring much RAW wisdom and context for a UK audience. Plus, the Cosmic Trigger stage play looks to make agents sweat when it launches in Liverpool, November 23rd 2014. Revisiting Cosmic Trigger the book, the current author was bowled over again by gazillions of new connections, and a new deeper love for RAW and his life story, and a willingness to look at the tale of the tribe from a new angle, which sets the basis of the following piece of writing i gathered onto the paper page a few hours ago, here in Vondel Park, Amsterdam.


pg. 1

TTOTT and the Sirius mystery

what if
RAWs great unfinished symphony
the tale of the tribe
were more than a guide to 13 of
the greatest human minds
who helped humanity find
through communication

what if
were also a guide to contacting
higher intelligences
from alternate dimensions
or wherever
what if the tale of the tribe
were really a key
to the sirius mystery
and itself a cosmic trigger?

pg. 2

take Girodano Bruno
his new languages
for new communications with
higher intelligence
development of angelic languages
so called

foundations of
enochian vision magick
contemporary with John Dee and
Edward Kelly

Bruno and his works hold keys
to early contact with E.Ts
angels entities as you wish
and denizens of the sirius
triple star system

strange holy guardian angels
but somehow
communicating through timespace
through the nervous system of
Robert Anton Wilson
into the tale of the tribe
a modern critique
of scripture
holy binding contractual poetic
does it work?

pg. 3

Yeats Joyce and Pound
also made
in some sense with higher
some might say muse
others artistic inspiration
but what

if Yeats...
(a butterfly landed with all six mittens onto
the page while writing this
two antenna
deep burnt orange and woody
choco' brown hairs with dashes of

what if
William Butler Yeats
picked up on the magickal hermetic
current and methods for contacting
higher intelligence
either from his own study of Bruno
Dee Kelly Ficino

from Aleister Crowley
the great beast
who diligently practiced
enochian magick

pg. 4

and so
maybe Yeats passed on the
invisible bug or knowledge
a tiny magickal starseed
to his associates
James Joyce and
Ezra Pound?

the Chinese written character
and ancient imagist sensibility
in resonance with contacting
higher intelligence
how did that language strike up from the past?

(contact between the widow of
American scholar of Japanese arts and
oriental culture: Ernest
Fenollosa and Ezra Pound cc. 1912)

the hermetic current
tirelessly innovating culture
art and science with

pushing out beyond language
into total communication
magick keys to open invisible doorways
geometry poetry mathematics
and good will

pg. 5

and a will to power
to the people
special languages of poetry
to awaken the reader
to the ignorance in knowledge
firm trust in the universe to provide
flying on the wings of

what if
contact with higher intelligence
disguises itself as creative impulse
and the spark of ingenuity?

Joyce and Pound each
made a revolution in
communications scripture
and systems

a good guide to contacting your
own deeper shadow self
your private muse
or sirian servant
invoked for good intentions
on behalf of all around the world
a doorway for friendly ET intervention

pg. 6

deeper still we have
the Polish genius who contacted
higher intelligence through the
intensive work and innovation of
general semantics

a refinement of language structure
toward a science of meaning
contact with multiple entities
a lesson for self centered
naive realists
in non-Aristotelian language systems
of limited communications
Alfred Korzybski

key to magickal workings
a 20th century extension of core
hermetic wisdom
scientifically presented as
a system

deployed by William S. Burroughs
a possible way to interpret the nova mob
practiced and mastered by
Robert Anton Wilson himself
the epic vortex
of imagination and good
willed humour

pg. 7

what if
Buckminster Fuller were a
primary key figure to
understanding and making use of the
hermetic wisdom in
contacting higher intelligence

innovation of geometry
so as to benefit all humanity
design science revolution
in the hermetic tradition
not for weapons of war
but knowledge systems and new
communications languages
for peace

toward universal abundance
of technology in the
minds of the people
the natural abundance of
carbon 60
or bucky balls
throughout the universe

serious cosmic economics
extraterrestrial technology
and contact
through the medium of geometry
maybe some Giordano Bruno
geodesics and dymaxion
architecture for the people
buckyballs and the mad
carbon 60 mystery of the
ubiquity of c60 throughout it!

pg. 8

what if
the father of information sciences
and the mathematical theory of
Claude Shannon
were perceived as another
unforeseen link to opening the
invisible doorways through which
higher intelligence

to lead much of humanity in 2014
into contact
with everybody and everything
the global internet of things

a basically hermetic ideaspace:
shared knowledge and a
scientific tool for discovery
and information processing

Shannon dangles keys
to as yet undiscovered
rooms without walls
mind boggling complexity
building a new cypher language
to help deduce and evaluate
through innovating the equations
binary electrical switching circuit

pg. 9

what if
the tale of the tribe
by Robert Anton Wilson
defines another order of
methods and systems
required for any thinking individual
who really wants to make contact
with higher intelligence
here it is
cosmic trigger
study it

and with luck ideas and inspiration
may emerge to lift up humanity
and instigate newer and faster
technological innovations
of the living

once contact is established
how the to ask
a meaningful question
how to interpret the information

quantum mechanics
and taoism
systems for deeper study
on contemplating a holy
guardian angel
shadow self
how to?

pg. 10

magickal workings in the
enochian language seem
to me to be more effective
way to contact higher intelligence
without tears
with good reason healthy skepticism
and a playful soul

based upon evidence from
RAWs books such as Cosmic Trigger vol. 1
and from RAW himself in my interviews
i now feel today that
there exists a particular contact
based on RAWs experiments detailed in his
methodology that includes
magickal occult ceremony
and tantric rituals
together with strange drugs

i hear the skeptic shout accusingly
i knew it
all this babble about contact and angels
he's high on acid

well yes what you thought
the psychedelic experience
mimics the magickal experience
and the experience of art too
getting beyond language
into epiphany and cosmic coincidence
or better yet synchronicity

pg. 11

to innovate the priest craft
while keeping two feet
grounded on earth
in the sewer
maybe the message from the stars
seeds is to evolve and mutate?
get back to the primary source of
a kind of
decentralized (Bruno)

unlimited and unbounded by belief
beliefs unlimited
freedom of thought
as Crowley and Leary
and Philip K. Dick demonstrated

we are not alone but
surrounded by a network of sentient
a love macrocosm
teaming with life and things to
communicate and
probably not in english

simply tune in
RAW tuned in while also turned on
and quickly got dialled into
sirius.raw broadcasting network 23

since getting in touch
RAW crafted ingenious magickal
communication devices
or books
utilized to help
other make contact
and possibly take the plunge and
attempt the tale of the tribe
for themselves

pg. 12

a modern verse epic
an epic including history
a global epic for the entire
human race
from the perception of
an individual stuck in time

a spirited attempt to
redeem oneself from the
mostly violent
wreckage of history
the history of men
empire warfare greed
and nightmare bushit' whirl

a new book of the day
contact for all who read
to provoke freedom of thought
and sympathy and forgiveness
for all mankind

the gods never left us'
we must knuckle down and
create this kind spirit of open
communication for all entities
both gods and insects
we must become the
we wish to see manifest
in the word/world

pg. 13

two examples of
the tale of the tribe
the cantos of Ezra Pound
Finnegans Wake by James

both epic and encyclopedic
tragic comic
multi lingual
crated a whole new style
ideogrammic prose
hologrammic prose

both in the hermetic tradition
heavy on math
geometry and esoteric symbol
systems innovated and
unified in the minds of
the people who read them

keys to holding a kind sanity
in the facebook of a
pop culture apocalypse
love and light of acknowledgement
that nothing is what it first appears to be

pg. 14

and slowness is beauty
good access to the data for all
helps build a clearer picture
global webnet search engines
unleash much occulted information and
wisdom hidden within the cantos
and the wake
even today

and so the global
hermetic revolution is underway
and has been for thousands of years

untied against fundamentalist
religious and scientific dogma
state sponsored bully boy tactics

and against mean spirited
greedy actions for the exclusive
benefit of the few

a planet spaceship earth
with 7.6 Billion passengers
using over 750 languages
requires a certain sympathetic
and tolerant individual
who attempts unity in verse
including history
without loosing sight of
the guiding principle of compassion
and kindness for all sentient beings

--Steve Fly Agaric 23
Amsterdam. 6.50 P.M, 11th June, 2014.

(on my way back from the park this afternoon i made a decision that when i got home i would google "Yeats and "butterflies" to see what might turn up. Of course, in 1934 Yeats wrote a drama titled 'Wheels and Butterflies' adding some spice to this mini-drama unfolding within a drama triggered by a butterfly landing on my open page as i wrote the word Yeats.)

Marshall Mcluhan and Dr Timothy Leary

There is no other 1960s intellectual figure whom Timothy Leary came to admire more than Marshall McLuhan. He considered McLuhan’s famous statement – “The medium is the message" -- the most important cultural insight of the ‘60s, a decade saturated with insightful and lasting one-liners, some of the most famous coming from Leary’s own brain. Leary has even credited the world’s foremost media theorist with giving him the pep talk that resulted in his own famous mantra: “Turn On, Tune In, Drop Out.”
In 1964, when LSD was fast becoming a national issue on a trajectory that eventually made it the most vilified drug of the decade, McLuhan’s treatise Understanding Media became (alongside The Tibetan Book of the Dead) the latest roadmap for Leary’s positioning on the subject that had increasingly preoccupied him since he and Richard Alpert had been forced out of Harvard, where they had been doing groundbreaking research on psilocybin, LSD and DMT during the early 1960s.--http://boingboing.net/2014/06/03/timothy-leary-and-marshall-mcl.html

Certain Noble Plays of Japan.

Title: Certain Noble Plays of Japan
       From The Manuscripts Of Ernest Fenollosa

Author: Ezra Pound

Commentator: William Butler Yeats

"All imaginative art keeps at a distance and this distance once chosen must be firmly held against a pushing world. Verse, ritual, music and dance in association with action require that gesture, costume, facial expression, stage arrangement must help in keeping the door. Our unimaginative arts are content to set a piece of the world as we know it in a place by itself, to put their photographs as it were in a plush or a plain frame, but the arts which interest me, while seeming to separate from the world and us a group of figures, images, symbols, enable us to pass for a few moments into a deep of the mind that had hitherto been too subtle for our habitation. As a deep of the mind can only be approached through what is most human, most delicate, we should distrust bodily distance, mechanism and loud noise--Certain Noble Plays of Japan.


Starseed Transmissions intersection point: July 23

Starseed Transmission intersection point

The following are some notes i made while revisiting the RAW high weirdness around the date July 23, 1973, and some of the influences and experiments he mixed together during those weeks.


Press play. Go. Pull it. The Cosmic Trigger Play.


Daisy Eris Campbell and a merry band of Discordians (including Steve Fly) are on a mission to stage Robert Anton Wilson's auto-biographical musings "Cosmic Trigger" as an original theatre production.


W.B Yeats and tinctures within tales

A smidge of insight into W. B Yeats, and a part of his work which resonates with the other great thinkers from  the tale of the tribe. Here we can imagine both taoism and quantum mechanics entangled with the tinctures in Robert Anton Wilson's Kitchen.

Yeats states that the ‘whole system is founded upon the belief that the ultimate reality, symbolised as the Sphere, falls in human consciousness, as Nicholas of Cusa was the first to demonstrate, into a series of antinomies’ (AV B 187) and refers later to ‘a phaseless sphere that becomes phasal in our thought, Nicholas of Cusa’s undivided reality which human experience divides into opposites’ (AV B 247). Elsewhere Yeats refers to the ‘antinomy of the One and the Many that Plato thought in hisParmenides insoluble’ (VPl 935), and he preserves this Platonic opposition in his duality, though expanding it by association to include, the objective and the subjective, Love and Strife or Concord and Discord, the Solar and the Lunar, and asserts the constant conflict of the two opposites. --http://www.yeatsvision.com/Tinctures.html#Prim


Abakus Magazine: Multi-Model Agnostic Geometry

While recently combing the inter webs for ideas, novel innovations in technology and the language used to describe such innovations, I do not often come across the use of terms such as sacred, spiritual and holy, or if I do they often display what I perceive to be lacking in basic scientific method. A handful dare to cross academic boundaries, while they retain a methodological integrity and sense, often due to a relatively simple linguistic hygiene practice, so floss your stinky Aristotelian tongue. A reminder: what you are reading is the product of a singular human being amongst billions, and any truth hauled in by your meat puppet will shortly be cast back out to the depths again. Please go dig on RAW, Dr. Timothy Leary, Dr. John Lilly, Bucky Fuller and Aleister Crowley for some wicked examples, great fishing spots and techniques.--Steve Fly


Victorian Occultism and the Art of Synesthesia

“I have always considered myself a voice of what I believe to be a greater renaissance — the revolt of the soul against the intellect — now beginning in the world,” wrote William Butler Yeats to his mentor, the Irish nationalist John O’Leary, in 1892. Yeats believed that magic was central not only to his art, but to a dawning epoch when spirituality and technology would march together toward an uncertain future. - See more at: http://publicdomainreview.org/2014/03/19/victorian-occultism-and-the-art-of-synesthesia/#sthash.cxAVF4cN.dpuf


The Dam conspiracy conspiracy conspiracy

The Dam conspiracy conspiracy conspiracy

“what the thinker thinks, the prover proves”—recurring theme in the book Prometheus Rising, by Robert Anton Wilson.

Everything seems connected. Some things seem more interconnected than others. Networks connect. New information travels fast. Novelty powers the meme-space race. Reality, from the whole tribes perspective, maybe only what trends on twitter when the question is asked. Its as if relativity is getting more relative, to paraphrase a saying, while the exponential information explosion ripples ever outward, or inward, pulsing, simultaneously. Pull and push.

Dam Conspiracy everywhere! but which ones are worth the time and effort pursuing, if any? And to what end? Do you really hope to piece it all together, create the one singular, most probable scenario universe to one particular space-time event? Or is this an exorcise in information warfare, defense in the art of ratting out the fake and untruths from the real and true. Good luck with that. Perhaps simply thinking in probabilities takes us much closer to the truth?

In my estimation, the whole purpose of The Illuinatus Trilogy, and the collected works of RAW are to force one to think, to decide for yourself what is real, what is put on, what is mostly put on and a little bit real, and/or mostly real with a little bit of put on. Reality is both what YOU make it, but also how those around you perceive it in the ideaspaces we share. This is not to deny that things happen as we perceive them, that would be falling into solipsism, that I aim to avoid like the void. 

“whatever you say it is, it isn’t”—Alfred Korzybski

The conspiracy, in one sense, is that our brains, and our hearts and senses all seem to push toward making meaning and truth, and beauty for that matter, out of the signals we receive. What these signals are, how they came to be what they are, and why we put them into patterns and recognizable forms, symbol systems, pictures, song, remains as much a mystery as proposing what is outside the limits of the inflating universe. 
My purpose for writing this is not to put down conspiracy research, or theories, or individuals who propose them, but simply to try and reinforce what RAW says so much better than anybody else I have known, read or heard tales about:

“According to Alfred Korzybski, any “idea” or mental state is a brain circuit which the brain itself can contemplate, thereby having an idea about the idea, or a mental state about the mental state, etc. There is no theoretical or real limit to the higher ordering process; it is the “infinity within” of which mystics speak.—Dr Robert Anton Wilson, the metaprogramming circuit, Prometheus Rising, pg. 195.

Alfred Korzybski, should be at the very top of any serious conspiracy researchers list of founding individuals who developed principles and methodology for doing good honest research. At the least this may lead to a kind of probabilistic reasoning, or a system of communicating based upon a wide array o f data.
RAW for instance, crafted complete books of non-fiction abiding by the pretty strict rules of English Prime (E-Prime), or English language with the remove of beingness, or the beingness of isness. A major cause for confusion in Aristotelian either/or reality tunnels: see politics, religion and the music press. I advise any conspiracy researcher worth their weight in paperclips, to delve into E-Prime, for the sake of sanity. Familiarize yourself with disinformation and the ego tripping wizards of what is, often accompanied by the ongoing lyric of ‘I’. The mix of fact and metaphor. The mix of ‘isness’ with ‘I’ ness...running wild into the cage of certainty.

“to is, or not to is, maybe NOT a question worth thinking about too long”—Steve fly

Don’t get me wrong, ‘I’ would call myself a conspiracy researcher due to having read most of RAWs output, and I have built my own scheme of things, based on what I have read and heard, seen and intuited in my own life. RAW would probably list Alfred Korzybski, Ezra Pound, Karl Popper, Carl Oglesby, Noam Chomsky and Paul Krassner as some of his top conspiracy theory quality critters. Read them. Search each one at DuckDuckGo.com, or another search engine and see for yourself why these individuals and their ideas are important for us all now, and how they distinguish themselves from the popular sensationalist ‘pop conspiracy boom’ co-opted by the global entertainment market, and questionably extended the reach of the gov-corp disinformation ops themselves. I once met Richard Metzger who started up Disinformation.com, and who was a good friend of RAW, the use of the word disinformation by no means refers to him or the website by that name, Metzger flipped in back in the face of the gov-corp disinfo IMHO.

Let RAW clarify for us, once again:
“Every secret police organization is engaged in both the collection of information and the production of misinformation euphemistically called “disinformation.” That is, you score points in the secret police game both by hoarding signals (information units)—hiding facts from competitors—and by foisting false signals (fake information units) on the other players. This creates the situation I call Optimum SNAFU, in which every player has rational (not neurotic) reasons for suspecting that each and all may be trying to deceive him. As Henry Kissinger is alleged to have said, anybody in Washington who isn’t paranoid must be crazy. Maybe the UFOs really exist objectively—or maybe the whole UFO phenomena is a cover for a secret police disinformation ploy. Maybe there are Black Holes where space and time implode—or maybe Black Holes were invented to befuddle Russian scientists and send them into “the little man who wasn’t there” semantic spookery. Maybe Jimmy Carter really exists—or maybe he is, as National Lampoon once claimed, an actor named Sidney Goldfarb trained to project an attractive down-home “image”. Perhaps only three alpha males at the top of the security pyramid really know the answers to these questions—or perhaps these three are being deceived by certain subordinates, as Lyndon Johnson was deceived about Vietnam by the C.I.A.—Robert Anton Wilson, The SNAFU principle, Prometheus Rising. Pg. 226.

To continue, I suspect one good measure of a characters contribution to humanity could be based on how much, and in what way, they share signals. With particular focus on factual, useful, scientific tools that help benefit all humanity, simplifying the equation, creating a new synthesis, balanced, fair, funny and obviously to the benefit of all. Like a good contract. 

I am leading to a critique of the new whistle blower phenomena, and the way in which the information is communicated. When filtered through some of the most balanced sources that I personally like and can get along with, like boingboing.net, the Guardian, The Huffington Post, io9, dangerous minds, etc; still lack the attention to the whole human organism that a character like Amiri Baraka and Alan Moore exhibit. I mean in the special cohesion found in great works of art, often more detailed and obscure, the sense of time when reading a novel vs. a typical blog entry or news item. The urge to fill in the missing information often pulls us toward massive generalizations about our senses,  processes sensed and how everything fits together, self, the individual in history, and our moving experience of wakefulness, now.   

Each to their own, and give thanks to the wondrous diversity of forms we can get our information, in the age of global Internet. However, I feel a good question concerns the difference between scripture and regular writing? How do we create special writing and communication that celebrate the human traits of humanity, the triumph of the individual over the state, over ideology and the deceptions of perceptions. How to break free from alphabetical chains, categorical cages and get beyond language?

RAW might point us to James Joyce, Marshall Mcluhan, Ernest Fenollosa and Ezra Pound in this respect. All whom dipped a toe to five into the future and dared to propose, and to perform by example a whole new style, a new synthesis, an innovation and condensation of past knowledge and psychological craftsmanship into never before seen language. Language art, the art and crafts of poetry, and the antidote to the infinite conspiracy conspiracy conspiracy regress, IMHO.

James Joyce might be my favorite conspiracy author,the master of connectivity in language.  I think that Joyce and Pound, Yeats, and Burroughs stole back the fire from the big bad thief, they stole back the arts of disinformation, the double cross, Orwellian double-speak, and created quintuple agents with missions way beyond anything any Harvard spy professor or Oxford/Cambridge cocka could compete with. Not a chance. And the great Irish poets and writers--to call up a nationality and apply a stereotypical and misleading title for them--stand atop the world in the field of capturing the tragic/comic truth of life, whole. Or, truths in the plural. True enough I like to think. A strong maybe, probably true, like the second law of thermodynamics. 

If you choose to follow any of this advice about reading RAW and checking out some of his in depth works  concerning the characters I mention above, or not, please go ahead and have some fun with it, write your story, your own conspiracy, pull it apart and build it up again. Do it again. Critique your own strongest arguments. Eventually you may be able to meditate upon such activity before engaging, and save a lot of time and effort which cd. be applied elsewhere, perhaps working toward gaining some agency, or agency on behalf of your local community with which to at the least install protections, possibly some semantic standards with which to weed out disinformation at the root?

In light of the principle that blinkered and limited perception shrinks and limits the universe, we could say that the common jewel of the conspiracy theorists tackle-box--the all powerful, all controlling super Illuminati--makes the biggest fool out of those who shout the loudest. That is, unless the shouting turns to singing, dancing, storytelling, jokes and some good old fun such as RAW and Robert Shea demonstrate in Illuminatus Trilogy! And RAW demonstrates throughout his entire life's work as a writer, teacher, playwright, scientfic philosopher, and genuinely really nice guy. Read him! Compare this with the monotonous paranoid ravings of those who proclaim to have discovered some universal truth about a highly complex historical event, no jokes, no alternative models, just an advertisement to sell books or other schwag. 

“It is what it is”—James Brown

“Nothing is”—Sun Ra

--Steve fly
Amsterdam, 26/3/14  


Astral Projective Verse: assignment 1. 1968

Astral Projective Verse: assignment 1


The following is a rough start to an example of what i am calling Astral Projective Verse, tongue in cheek, named to have fun. It starts with a shored dream fragment, and then leads into a kind of proposed group 'historical intersection point' where we could pitch our astral 'mental' tents? i did for a moment and here are the results...
best wishes,
--steve fly
(warning, check the length of this message, it might be longer than you expect, just saying x steve)

Dream Fragment: Morning of Saturday 18th January 2014:

The projective dream author found himself nealing down next to a body of water, either a lake or the ocean. However, the water was still more like a lake. Just below the surface were some rocks with bright green moss shimmering in the brown/azure water, trance like.  I reach with my arm into the lake to find a bunch of keys, instinctively i feel these are my keys. I reach down again to find more objects, but these are beyond description. I felt a sense of awe and wonder at my discovery, general accomplishment.

In retrospect tonight, Sunday 19th January, i have somewhat forced the lake to be the lake in Lincoln park, Chicago. On closer inspection, perhaps it was: Alfred Caldwell Lily Pool: https://en.wikipedia.org/wiki/Alfred_Caldwell_Lily_Pool

Or perhaps its the fountain of the great lakes in Grant Park: 

1968 Intersection Point: Astral Projective Verse assignment 1

Following my own system of research, developed during my on-line class 'Email To The Tribe,' i picked 13 characters who were present on world during the 1968 Chicago convention, and who fit with the more general 'revolution in language' often associated with 'the tale of the tribe'.

Here, in 1968 we find an intersection point, or a synchrony-mesh, a furtive place-time to observe using the telescope/microscope of flexible insight and special techniques for conjuring the ambiance of the time-place under investigation. Focused imagination.

We have a phase array of versions of the events from some of the great minds of the 20th century, we have specific times and places and sensory poetic reflections on the happenings. I cannot suppose that all these characters were in earshot but to know they were present, in some capacity, opens the door to invoke them and their verse into our tale, to mix them into the giant cauldron bubbling away in Lincoln park.

Many reports of the events taking place in Lincoln park on Saturday 24th August, at 4.00 PM give a good picture of a specific event, the brief performance of the MC5. The band got its power from a generator belonging to a hotdog vendor.

Here, in the park, with the backdrop of 5000 hippies freaking out to the sonic innovations of the MC5 we project our characters, all gathered together in a fictional universe, not too far away from the one recorded by historians, and agreed upon by most people. An intersection point, a specific target for an astral projective verse experiment. (please see my previous post on APV).

To open up my shared imagination a little, lets imagine a mixed aroma of marijuana, onions, gasoline, on the wind. The crackle and fuzz of electrified guitars and microphone feedback, the dry thump and padded bop of distant drums, cymbals building up a series of factory like pings and pangs, the sound of wooden stix on metal. The hum of the generator, running at full capacity to power the music. The rambunctious yippies and cheers of 5000 hippies dancing and celebrating life. The distant sound of sirens and police whistles, the sound of horse hooves and more police whistles.

Here, Robert Anton Wilson, William S. Burroughs and John Sinclair and passing a joint of Acapulco gold, rolled like a torpedo by Ed Sanders. Ginsberg misses a round due to having a sunflower protruding from his mouth. Norman Mailer is shadow boxing with Abbie Hoffman, while Carl Oglesby and Terry Southern look on, wondering if Norman was going to really connect with Abbie. Wayne Kramer hits a 'space note' shortly followed by the rest of the band, all playing free-form in the tradition of Sun Ra and his Arkestra.

RAW is discussing Carl Jung and Wolfgang Pauli with Burroughs, who in response recalls a short tale of James Joyce and his fascination with Synchronicity and the fact that he inserted many of his own moment of synchronicity, or in his own terms you might say Epiphany. Raw respond with the story of Carl Jung and his dream of Liverpool, and it's lasting impact on his work afterwards, commenting how the fountain that he saw earlier at Grant Park, reminded him of Jung's dream. Burroughs then told RAW about his synchronicity surrounding the number 23, and retold his Captain Clark story.

Ed Sanders and Ginsberg launch into the actual poem called 'The tale of the tribe'. Ginsberg, who recently came back from visiting Ezra Pound in Italy, was channeling Ez, while Ed Sanders was channeling Charles Olson. Together they spontaneously presented the history of civilization, the birth and gestation of languages, arts, music, poetry, writing, conflict, war, oppression, civil disobedience up to 24th August 1968 in a terse, information rich prose, epic, and including history.

Slowly the group begin to pass the hay, with the music still playing in the background and the Chicago police and their whistles and bullhorns getting nearer, the gang begin to jam together, projecting their observations and innovations into the mix. You get the picture?

So this is my own imagination at work, bedding the truth in waking life, having a stab at a point in space-time, buried somewhat in the noise, but polished and presented here as a nodal cluster of innovative possibilities for further research, to mean have them activated by using some special method or other. Some of these methods will involves weeks and possibly months of consistent meditation.

My methods relating to my class email to the tribe: ETTT, for example, include creating a tally of attributes for each character: Texts, Teachings, Theos, Totems, Tailors. Next, i suggest creating an alphabet of magical objects associated with each character present in 1968. When a number of characters and their attributes have been created they can be fixed together in various geometrical patterns, based here upon some of the geometries of R. Buckminster Fuller. This was the model I followed for my novel Sixty (2011) and the Icosahedron and Dodecahedron in particular. The Pentagon/Pentagram and the Hexagon/Hexagram were also used. With some playful creativity one can create multiple sided objects that can function as a kind of dice, to be thrown. Hence, mixing ideas in a literal sense from the characters under investigation. This method should be used loosely in tandem with the improvisational and spontaneous imagination.

These obscure practices, when used in conjunction with some of those described by Orphiel in 'The Art of Astral Projection' and Charles Olson, in his essay: Projective verse, and when these are specifically designed to accommodate a certain intersection point in space-time, provide new tools and methods i recommend highly.

Projective after-thoughts

The Festival of life exhibits a turning of negative violence and state sponsored ignorance into a celebration of non-violent civil disobedience and the joining together, literally hand in hand, of great poets, musicians, writers, and thousands of illuminated seers of the future. Many bright sparks who quickly recognized the American hegemony of global trade, surveillance and banking chicanery or usury.

In 1968 the public display of police brutality reverberated around the world, and helped shape the trajectory of the growing counter-culture, alternative thinkers the new artist-activist-scholar-bards of 60’s America who went on to reshape the landscape of modern poetry, music and the art of peaceful powerful protest worldwide, IMHO.

Yes, so bringing it all into a certain radius, hundreds of future prophets of the information age, together in the same geographical location. A special intersection point, and good target for an experiment in astral projective verse. (which is a process under development, and experimentation as I write this)
--Steve 'fly' Agaric 23

January 19th, 2014.
edited March 3rd, 2014.


Astral Projective Verse: Olson, Ophiel and Sun Ra

Astral Projective Verse

By Steve Fly Agaric 23

For Eric Wagner and John Sinclair. Thanks for inspiring these wild speculations which are really notes that shall be reshuffled into a more coherent whole at some future point.

"The essay introduces his ideas of “composition by field” through projective or open verse, which is a continuation of the ideas of poets Ezra Pound, who asked poets to “compose in the sequence of the musical phrase, not in sequence of a metronome,” and William Carlos Williams, who proposed in 1948 that a poem be approached as a “field of action.” Olson’s projective verse focuses on “certain laws and possibilities of the breath, of the breathing of the man who writes as well as of his listenings.” --Poetry Foundation, introduction to Projective Verse.

"This book, an occult book, deals with the subject of how to enter this Astral plane, function there, and then return to the physical plane, with a great deal of memory-knowledge of the “trip” retained in the memory and available for study and research. This book is a practical Occult book in that it gives all the theory necessary to understand the subject AND THE DEFINITE DIRECTION PRACTICES AS HOW TO DO IT.--Orphiel, The Art of AstraProjection.

"Music is a plane of wisdom, because music is a universal language, it is a language of honor, it is a noble precept, a gift of the Airy Kingdom, music is air, a universal existence … common to all the living. Music is existence, the key to the universal language. Because it is the universal language.--Sun Ra, The Neglected Plane of Wisdom (1966)
Astral Planes And New Moon Beams by Sun Ra (at discogs)

Astral Source History

The system of projective verse as defined by Charles Olson and the magical occult Art of Astral Projection, here as defined by Orphiel, twist themselves together to produce astral projected verse, a new kind of magical poetics, or roughly a poetic technique to remote-view (using the astral body) the spaces and places and the time period under investigation. 

I have dabbled with some of these ideas in a previous writing project called Open Source History. I created a target area based upon 48 hours of historical time set between July 31st and August 1st 1936. I picked this date due to the special intersection point that I perceived here based upon the life-span of characters from 'the tale of the tribe,' as defined by Robert Anton Wilson, who was 4 in 1936. William Butler Yeats and James Joyce were alive, so were Marshall McLuhan, Buckminster Fuller, Claude Shannon, Norbert Weiner, Ezra Pound, Orson Welles and Alfred Korzybski. This group of innovative critters who exerted a special IMPACT on Dr Wilson are pulled into a fictional vortex of history spread over 48 hours.

The ideas and innovations from the individuals are projected into the historical period under observation by using another fictional tool: tribetablism. An occult system of astral projection based up utilizing the instruments and sensibility of a disc jockey, the discs in this case contain the speech of the tribe or the speech of the historical characters, together with sounds effects and embellishments more conventionally associated with the art and craft of the DJ. The tribetable method takes a lot from the Enochian Vision Magick as defined by Lon Milo Duquette, and is the tool by which the historical tale is telling itself. The novel cuts between occult astral projecting DJs in 2012, and the targets from 1936: New York, Rapallo, Berlin. 

Pound, Olson, Baraka

At the time of writing this novel in 2008 I had not yet come across the essay by Charles Olson, Projective verse. Since discovering this essay and reading it over due to encouragement by my friend John Sinclair, I became convinced that it embodies much of what RAW was getting at, in particular the influence of Ezra Pound and to a lesser extent James Joyce. 

Furthermore, I have recently been moved by the passing of poet Amiri Baraka and tuned back to one of his recent lectures, drawing insightful parallels between the work of Charles Olson and of Sun Ra. Listening back to the lecture, i was stunned by his description of Projective Verse by Olson and how much it resonated with 'process oriented' ideas explored by RAW. 'I see no nouns, I only see verbs.' Bucky said.

I was moved to reshape some ideas of Ernest Fenollosa, Pound and Yeats around what Baraka was saying about Olson and Sun Ra. Projective verse seems to be a very important document and resource for research into the tale of the tribe, and thankfully, unlike many of the other gigantic texts, Projective verse is relatively short, super concise and generally optimistic and informative. It lays down another way in/out of the vortex, a way to navigate the maelstrom of thought and language and action in the world we dream in. The lineage of Projective verse and trajectory into history from that point of publication in 1950 demonstrates how strong and time-tested the contents are. 

I mean to say that Projective Verse is still NEWS today in 2014, its power and dormant potentials expanding at an exponential rate, and i wish to add a little something to that by presenting the concept of astral projected verse. I should add that within the context of the myth, magic and music of Sun Ra, astral projected verse resonates with him more than any other musician either living or dead. 

We have the costume of the historical figure Maximus, put on by Olson and projected into his local space-time manifold, and we have the literal costumes of Sun Ra and his band, put on by Ra and projected into the performance space. Both these systems of using costume could be compared with Yeats and his descriptions and investigations of masks. 'The nature of reality is the reality of masks'. And let’s not forget the brilliant Novel by RAW called 'Masks of the Illuminati' that further explores costume, theatre, drama and layers of identity, with special focus on James Joyce, Albert Einstein and Aleister Crowley.

Astral Planes Language APL

Astral Projection is a psychological magickal technique and has many different variations and no single inventor or definitive text. Unlike projective verse, Astral Projection as far as i am aware is not such a popular field of interest to poets, probably due to its renaming and adoption by many fringe groups as remote viewing, many fringe groups that included intelligence agencies around the world, such as those from Russia, America and England. There are lots of publications based around remote viewing and secret government projects and so called psychic spies, there is also a Hollywood blockbuster movie about some of these events in the USA, called 'Men who stare at goats'. All the drama of psychic spies, clandestine magickal operations and the possible global hidden hand of spooks with special powers can divert the focus from the art and craft of Astral Projection itself.

As with all and any technology, both physical and psychological it can be used to forward the shared resources and knowledge base of all-around-the-world humanity, or used to constrict, consume and paralyse humanity. Astral Projection provides a tool that can be used for an infinite variety of uses.

You may have noticed that i am talking about Astral Projection as if i know for sure that it works, which may bring much contention from armies of skeptics, critics and the ignorant who, as with the argument against full legalization and availability of drugs, would never try, and have never tried, the things they are so certain are so dangerous and threatening to life.

Anybody who has an active imagination and a healthy inquisitive mind can bypass this kind of bigoted ignorance, and recognize it in most authority figures and systems of control. Some may see how the language used to project the authority of knowing, itself, is a mechanism used to distort the picture, frame the information and prevent those trapped in linguistic cells from realizing the infinite flux of being, out there, beyond language...ish

I am biased though, i must confess, after seeking and devouring the works of Robert Anton Wilson i have practiced the arts and crafts of positive thinking and critical analysis, resulting in a high sensitivity to my own projections, a kind of general awareness that 'I'  like every other 'I' cannot know everything, for example. I mean to say, i feel humble to the fact that everything you and 'I' know is wrong, yet i do not feel nihilist and serious enough about this to throw the baby out with the bath water.

To use the imagination, in tandem with the scientific reasoning faculty of the mind-body-language interface to get out there beyond language. Into telepathy, faster than light, everywhere and nowhere at once, the paradox of time-travel etc etc. Into the paradox, and out through the side door, taking bits and pieces of whatever the individual might think can help them on their journey, on the road of life to discover for themselves what the hell is going on. 

I think Astral Projection, in particular, is the kind of future technology that can really level the playing field regarding the age long questions about the individual and the state. The walls between the world in here and the perceived world out there are pulled down, if and when an individual can ignite the infinite potentials of the human mind-body interface and no longer be limited by the physical location of the body, able to travel anywhere, anytime, see and possibly act upon other psychic entities. The internet is a good metaphor that shapes one aspect of astral projection, or travelling the space ways in search of information, yet maybe with a hidden longing for a sense of experience, for an extra-sense of being there. 

Can you distinguish the boundary between your astral plane and your physical plane, where one starts and the other ends? A good place to start thinking about astral projected verse is to look at your own belief-system, how it is constructed, and why. This leads me back to the beginning of this essay. The mixture of ideas and methods from Projective Verse by Charles Olson with techniques and approaches to Astral Projection by Orphiel, topped off with the Astral jazz music of Sun Ra. Together, i believe that these three disciplines can produce some innovative, state of the art, poetic technology capable of handing individuals the free tools for self liberation, and for gaining agency in the world around them.

“the HEAD, by way of the EAR, to the SYLLABLE
the HEART, by way of the BREATH, to the LINE”--Charles Olson, Projective Verse.

--Steve Fly