The End of the Age of Divinity

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Contents [hide]1 The End of the Age of Divinity1.1 Introduction1.2 The Mono-Trimensionality of 3D Psychopathic Geometry, the Ruling Classes and the Zero-Dimensionality of Centrality1.3 The 3 Dimensions or 1 Trimension of Value1.4 The Second and Third Dimensions of Time1.5 Situational Force Fields and the 3D (1T) Forcefields of the Ruling Classes1.6 Exegesis of the 6 Fold Path to Corporeality:1.7 Defusing the Quantum Time Bomb – When didn’t We Stop the Freemasons of the Future?

[edit] The End of the Age of Divinity

[edit] IntroductionI The death of Isou marks the end of the Age of Divinity. It was the Lettrist Fazlullah Hurufi, the Seal of the Saints who opened the age of divinity. It is closed by Isidre Isou, who we proclaim as the Seal of Divinity. Are we to hereby declare the Age of the Proletariat?

II

While the religious problem in Isou’s Lettrism was answered by ‘the movement’ with a rejection of the proletariat and with the worship of the innovator – the creator, this sell out, this mystification, this mythologisation, this anti-materialist basis and orientation, was in fact also evident in the work of Isou’s best critic and the developer of the Lettrist metagraphy and hypergraphy into situgraphy, Asger Jorn. Jorn identifies the central problem of the religious question in Lettrism when writing ‘On The System Of Isou’ but fails to answer the question. Elsewhere in his answer to Marx’s Capital, The Critique of Political Economy Jorn identifies the surplus value of the working class as the source of its revolt against capital in what he termed as its propensity to take ‘risk’. This surplus value however, this risk, was to be historically transformed in line with 4th factor of production – and the unification or management of the other factors, namely labour, land and capital – as enterprise. In this way it was just the same as the classical Lettrist movements privileging of the creator – the innovator – the taker of risk, which today we identify in all sorts of ‘revolutionary’ projects undertaken by nothing other than bourgeois enterprise. We therefore must return both Jorn and Isou to the perspective of communism.

III

The only creator is the proletariat: that is the working class in revolt against their exploitation – against capitalism. While the former positions of Lettrist hypergraphy and situgraphy have lead to shoring up labour aristocracies such as the ‘creative class’, ‘immaterial labour’ or even ‘risk labour’, we will destroy any such divisions in the proletariat and herald its class perspective as the only possible perspective for spontaneous orientation.

IV

Our situlysis must have a/infinite centres – i.e. ultimately acentric – origin or point of perspective . This is the perspective of the proletariat. This begins with a single proletariat in a state of al-wahdat (one point of coherence) and immediately starts to move to that of al-kathir (diversity) as it collapses into the perspectives of other proletarians and the proletariat as a whole.

V

The discovery of the systematic work of the Hurufis cuts Lettrism free from Isou. We are no longer concerned with the system of Isou – scientific or not – but with the systematic tendencies of Lettrism – its eclipse and re-emergence in the New (or 3rd) Lettrist International.

VI

The disoriented geometry of the situation, with is tri-mensional situlysis therefore requires a different point for each measurement. The point of origin is therefore taken to be that of the worker involved. In the first case of Lettrist hypergraphics this was indeed Isou. But immediately wahdat tends to kathiral – coherence to collapse. The perspective of the worker expands to go from point of view – i.e. the eyes of the individual – to a line, surface and volume of the body. In measuring our own space we find that we necessarily share this space with other workers. Creation is always and already collaborative. But this is also true of perception and consumption. The work of the onlooker or the speaker as well as the listener or the actor is the kathiral point of orientation but it always depends on the other and indeed on others – other spaces, times and values – ie it tends towards kathiral and then of course to another wahdat.

[edit] The Mono-Trimensionality of 3D Psychopathic Geometry, the Ruling Classes and the Zero-Dimensionality of CentralityVII

Ruling class culture around the world has homogenized around the worship of the Sun god – from before the time of the Egyptians to date. This has been consolidated in the physical theories of nuclear revolution and the creation of particle accelerators underground all over the world. The privileging of the sense of sight, of light is exemplary in this – in the privileging of whiteness in lightness as the manifestation of god – in the enlightenment and so-called age of reason. Therefore it is the discipline of painting in visual arts that we concentrate our attack – as along with nuclear science these contain real religious force for the bourgeoisie. The real religion of the bourgeoisie is of course a pagan cult synthesised from the polarity of a monotheistic God and the devil, exemplified by the Freemasonic order. This is the same whether in Africa, Europe Asia or elsewhere. The Islamic masons and assassins also incorporate ancient teaching into their more modern monotheistic innovations to synthesise rituals of abuse which are then transmitted to the masses through coded and ritualized means in a variety of ways from religious, social and cultural practices, theatre, television internet and mass media as well as in the structures and institutions of health and education.

VIII

The point of origin of space for the ruling class however is seen as the origin of the source of light – and its reading upon the human body through the eye/s, hence the Freemasonic symbol of the eye within the triangle.

IX

In recent years cracks in the establishment have appeared in the face of the discoveries of quantum physics, of black holes, dark matter and dark energy. The Royal Society have tried to shore up their defenses of Newtonian theories of light and gravity in a variety of ways. They have found some more successful and malleable than others. Their attempts to manipulate Steven Hawkings is worth mentioning here – and his successful resistance through channeling the spirit of Galileo. They have recently found Berners-Lee more malleable material.

X

Moving on, it is no coincidence that at the same time the G8 start to recolonise Africa and offer plans for the eradication of poverty. They are in reality, plotting the eradication of the working class ie those people who are ‘poor’. This is done through the synthesis of the ruling class of the proletariat and the aristocracy in the body of the bourgeoisie. While religion and godhead was seen as represented through the aristocracy, through a supreme ruler or king, in the bourgeoisie this process is internalised. Therefore the centrality of the bourgeois subject is superimposed over the centrality of the sun. Hence the Light of the World comes to stand in for celestial bodies which spin round in the bourgeois mind. The dome of the human head as a receptacle for light and of consciousness therefore orients human consciousness as located in the mind – the 3rd eye or pineal gland – the so-called seat of consciousness. This is the source of the division of mind and body – humanity is reduced to the human mind. European culture exemplifies this by its world view in locating Europe as centred and north, with USA to the left and Russia to the right. All the neo-colonies are laid out below it just as the human body has become denigrated to so-called intelligence.

XI

The African, Caribbean and Pacific/European Union Joint Parliamentary Assembly (ACP-EU) has grown out of the trade agreements of the European Development Fund (EDF} established at the Treaty of Rome (1957). It was organised in order to retain influence and economic domination over these colonies, as the colonial power of European governments became weaker after the revolutionary drive towards independence of colonies in the mid 20th century. The Yaoundé Convention of 1963 was a neo-colonial convention which enshrined the new form of globalised colonialism. One of its noted innovations was the recognition of national sovereignty to the ACP countries. Thus the notion of sovereignty is extended from the European powers, as enshrined in Europe under the Peace of Westphalia in 1648, onto the new neo-colonial states. This date is part of the peak period of the age of messianic divinity and exemplifies the era of the creation of capitalism as a global force.

As the age of divinity draws to its close, the form of the nation is thus also coming to an end. On the June solstice of 2000, the Cotonou Agreement again brought colonial conditions back through the establishment of the Joint Parliamentary Assembly which restores political as well as economic power to a strengthened Europe.

XII

This year, on the northern summer and southern winter solstice 2007, the ACP-EU Joint Parliamentary Assembly met in The Kurhaus, Wiesbaden, Germany. Their discussion included what they have described as the “urgent situation” in Sudan and Zimbabwe. There is clearly a racist agenda with EU intervention in these areas. In Sudan the UN has been trying to frame a racial conflict between Arab Africans and Black Africans. Similarly in Zimbabwe the conflict has been characterised as between Black Africans and White Africans. XIII The combination of politics and aesthetics in the so-called secular society of the so-called west therefore provides an important nexus for the bourgeoisie. Post independence, immigrants from the ex-colonies into the western European colonizer states were all generally refered to as ‘black’ while ‘white’ was a term that was exclusive of jews, slavs, celts and all those generally outside the anglo-saxon axis. This was very important for the formation of the so-called ‘new world’ colonies. The manipulation of these terms for example in South Africa predates the advent of fascism. The advent of the new right in recent years has seen a strengthened Europe under the EU and Euro- which has relied on a modern aesthetic where white is the new black, red the new blue. This disorientation is in fact the result of the supercession of aesthetics or art by politics or science. What we will show is that proletarian perspective is not the privelidging of one or other category but the abolition of these categories altogether and their overthwrow by a proletarian wahdat through kathiral.

XIV

This is opposed to the polarity which collapses into categories which control people in a viciously dehumanising way and the most well known example is in South Africa with the categories of white, black, mixed, asian being employed to divide and rule the proletariat. It is essentially that these categories are rigidly imposed by the rulers that they receive their force. They are also mixed in terms of aesthetic (colour), genetic (mixed) and geographic. In doing so they create a psychogeographical space which disorients and t®aps the proletariat within a forcefield or constructed situation which manipulates their behaviour.

Racism and nationalism are intimately related but clearly not identical. They are both parts of the same semantic space which derives from the pre-capitalist feudal system of the aristocratic ruling classes and the wahdal or sovereign perspective. This is based upon the family as the organising word – ie the name. It is therefore as useless as proletarian enterprise to seek a pure or authentic or proletarian nationalism, racism or family. The issue is removing the power of definition and control from the ruling classes and empowering the workers as we/they rise up against the capitalism system that exploits and dehumanises them and us.

XV

The perspective of the ACP or other inter-govermental talks, based as they are on the Westphilian system of statehood, are not just top down as opposed to bottom up, they are constructed exclusively from the perspective of alienated authority of the European ruling class. The same is true of the so-called ‘revolutionary movement’ which confines itself in Western Europe also. In January the UK Social Centres Network met at the 1-in12 in Bradford. In a report to a so-called Quarterly Anarchist Journal of Theory and Action from the British Capital After the Empire – although they fail to mention how London can still be the British capital if the British Emprie is indeed in the past - an Anarcho-Racist writes: “Social centres were asked how many people were involved in there collective, how many events are organised per month on average, how many visitors they get... between the fifteen spaces, there are around 350-400 people involved in social centres around the country - organising around 250 events per month and gaining the presence of 4,000 to 6,000 people. Not bad for a political minority! By making this data visible and presenting it back to those of us involved in such projects the aim is to expand the knowledge of what we do, and with whom.” The sovereign perspective of the writer reduces the ‘participants’ into data to be controlled as commodities. Nowhere is there any discussion of what these people may think or want to do.

XVI

It is the perspective of the ruling class that seeks to define the world in terms of commodities. The perspective of Capital simultaneously denies the perspective of labour – ie the power of the proletariat – and land – the traditional power base of the aristocracy. The revolution of the European bourgeoisie suppressed and realised the power of the aristocracy and therefore synthesised the perspective of land into that of capital. What the shift from formal to real domination of capital seeks to do through such diverse bodies as the ACP-EU and the ‘Social Centres Network’ is supress and realise the perspective of labour into that of capital too. This is done through the perspective of bourgeoise enterprise. It should not need stating that there can be no prospect of proletarian enterprise. The perspective of the proletariat can only be realised through the empowerment of the perspective of labour as a factor of production which competes with capital and land for material power under the system of capitalism and capitalist production as propogated by the power of the entrepeneur. National sovereignty is in fact empowerment of the land, capital and enterprise . The empowerment of labour - the only prospect of empowerment of the human being against capitalism is another matter altogether.

XVII

The alienation of our labour is a spatial temporal and semantic restriction - and reduction of man into woman - as woman is always and already just a commodity - only men can have property. but even outside of this semantic reality within the confines of the spatial entity of E or Aurope, is the alien -or even within that space we can find the ‘resident’ or ‘ilegal’ alien - the black man - black matter and energy as female - to be penetrated where sex is violence and based on a psychopathic geometry - by a ‘enlightened’ europe. Both black and white identity is a result of the formation of colonial and post-colonial borders and are part of clear expression of psychopathic geometry.

XVIII

Any debate about arming the police is redundant at the borders where for example we can see police armed at Heathrow airport (and all airports perfectly show the hyperspace of the border of the states and nations which engender industrial capitalism). Europe as a hyper/psychogeographical/space that is defined by the limits of the ‘European world’ , therefore it is defined by, for example, the fact that the former Neu-Mecklenburg and Neupommem (now known as New Britain and New Ireland) are part of Papua New Guinea – which with for example the West Papuan and Bouganville struggles going on with in its borders, like every single ex colony nation in the world is being torn apart by revolutionary, counter-revolutionary action as well as bouregoise forces stacked up against the people. A border has dimensions in space, time and meaning. Spatially we can see borders as a 2 dimensional line which tries to therefore constrain multidimensional space. Its retardation is evident in the 3rd dimensional deficit whereby nations imagine their borders extend infinitely into outer space and infinitely down into the earth. The points in space are checkpoints that line the border and the surface is that of the country.

In time we can see the point of independence or occupation as the beginning of a border and a possible end point in revolution. The temporal line is thus defined. The temporal dimensions of origin and magnitude are therefore extensions into time at those points and are defined by the aristocratic time period which predates the modern capitalist state. In the case of England that is Briton. The temporal border of Britain thus demarcates England between Briton and Britannia, the conquered and the conqueror. Which brings us to the dimensions of meaning.

The border is a line - it is in negative dimensions of meaning. It is only through the surface of country or volume of nation that it acquires meaning. If we look at the 0th (nunth) dimensional point of the checkpoint this is somewhat clearer.

XIX

The checkpoint constitutes the event of capture. of inquisition. it form a line and surface with the history of a conflict typified by imperialist warfare. the event that happens there is identification and meaning is situated by the flag - the letter of the nation. In the case of England this is the red cross. It is also the letter ‘E’. The event that constitutes the temporal origin is the Anglo-Saxon invasion - ie England is in fact Angland. There is no mistake in the correlation of the cross and the semantic relationship with Angles. The letter E is sometimes morphologically identical to the letter A. In this way the EU is the same as the AU. The letter (0 dimensions), the name (1 dimension), the constitution (2 dimensions) of a nation are thus the different sides of the entity defined by borders. The checkpoint will demand a similar measurement of human beings - in spacial, temporal and semantic dimensions. Identity is what is checked, through papers. This identity has race and class as its dimensions.

It is alienation that the psychopathic process builds on. Alienation is the quantitive and qualitive restriction of a person from their labour, from their home and from the world around them. It is the true meaning of the ‘One Point’ policy of the Pakistan administration against the kathireal blossoming of a thousand states/stans.

XX

Recently the defeat of class war has meant the victory of the warrior class. The use of arms and of war, of course, predates capitalism and will certainly outlive this pathetic and mean form of production. The control of arms of course must be in the hands of the workers. This includes the producers as well as the users – the consumers of the means of killing. The process is married to the creation and maintenance of the nation state and to the production of death – ie the enforced borders of everyday life through human activity. The chain of production in military weaponry is perhaps one of the most extensive and comprehensive chains of human production known, from the mineral mines of the ACP countries to the data mines of the EU universities, the empowerment of workers happens at a vastly unequal and stratified terrain.

XXI

Communism firstly guarantees the restoration of the individual property of the worker – ie her labour. Secondly it guarantees the abolition of private property. The contradiction is clear and it has proved to be a bloody business. War is fought openly and in hidden ways. The occult assassins of the secret sevices the world over have in the recent so-called war on terror and beyond, taken to creating heart attacks in politicians. The political process is a simulcrum and a screen that projects reflects and distorts human fantaasies and realities daily. And it's deadly. Politicians, scientists, artists as well as proletariat are subject to occult assasinations and the threat thereof on a daily basis. This is evidenced in the recent bout of deaths of politicians by heart attacks, in the death of pakistani generals, in the death of british cabinet ministers afeter the declaration of war on iraq, etc etc. These deaths by so-called natural causes – just like the so-called natural causes of tsunamis or drought or earthquakes or floods are not natural at all. They are the manifestation of the deadly will of the ruling class – the victim invariably being the workers – the creators.

As the age of divinity has drawn to a close, land disputes have flared up over the ex-colonies – land disputes which the ruling class suppresses by reference to borders and psychopathic geometry. However, returning to pre-colonial borders is simply a return to renewed oppression. Geneologies manifest families which are the feudal form of organising. Names are the remnants of this and the loyalties and ownership denoted by the name return to aristocratic forms or alienation and oppression of proletarian perspectives.

Language, land, life and the means of creation, under capitalism are equal to the means of destroying them.

XXII

The ownership of arms along with all commodities - must be restored to the workers who produced them. The soldiers and police forces of the bourgeois states and so-called revolutionary armies alike must look to the leadership of all workers involved. This process is the necessary grounding of the ground and the so-called grass-roots and indeed the environmental battleground. The ownership of labour predates the ownership of land and land as the primary factor of production- ie the alienation of land and the creation of capital are all based in the alienation of labour.

XXIII

The spectacle is indeed the name given to the crushing of multi-trimensional situations into a projection onto a 2D screen. Attempts to go beyond the surface are forcefully curtailed by the corporeal congealing at the 3rd dimension ie this surface has its duration as a dimension of time and is therefore 3 dimensional (1 or uni-trimensional). What we will now examine is how the situation itself, through cutting down of dimensions of corporeality and creating trimensional force fields, will create conflict ie uncontrolled release of energy, rather than individuals who at any rate do not exist when we go beyond the 3 dimensional or trimensional corporeality.

Resisting the 4D Forcefield: Debunking the 4 Dimensional Myths of Art and Science of Time as a 4th Dimension of Space with the Possibilities of Pentagonal Perspectives of the Proletariat.

XXIV

The destruction of the sovereign orientation and perspective of the ruling class – of psychopathic geometry – rests therefore upon the unleashing of a proletarian perspective .

XXV

Prior to the emergence of Lettrism in Paris, Walter Benjamin wrote The Work of Art in the Age of Mechanical Reproduction (1936). Here he writes of the loss of the ‘aura’. This aura is in fact the force field created by the work of arts de-dimensionalisation. In shutting of dimensions of projection, the bourgeoisie create fields of power, which we will look at in more detail later.

XXVI

When works of art started to be printed in magazines and journals – especially in the samizdat movements which lead to the innovations of German Dada as it came into conflict with the Nazis, these works became free of the art gallery context – ie they became mobile and moving in space. Simultaneously the spectator became mobile in viewing them. This is not the first step of the creation of a new perspective and new geometry – this movement is going on even within the gallery structure. However, the innovation and engagement into open partisan psychic warfare is the development worth noting at this time. Lettrist hypergraphics create new relationships with space by opening up the semantic dimensions, in using the semantic unit or point of the letter as a moving object in space and time. Therefore while the configuration of the graphic is fixed, its reception is not.

XXVII

Much of the effect of the lettrist innovations is due to the unleashing of the proletarian perspectives of everyday production of the working class into the bourgeois field of art and science. This also involves reveiling the secret and occult techniques of the ancient ruling classes, whether consciously or otherwise.

We have looked already at how the aristocratic perspective is based upon the eye of the ruler rather than the beholder or creator which is bourgeois. The creation of money is exemplary in manifesting this psychopathic geometry and it should be noted here that money is the invention of the feudal system. The defining feature of money is of course the head of the ruler in profile. This gives us a single eye looking forward. The proliferation of these symbols which are in effect letters an in particular their use to measure any and everything is the source of the monarch’s power. The fact that the British queens head still features on the coinage in many commonwealth countries shows her real psychic power. The replacement of the monarchs head wth other symbols and letters shows us how the power of the bourgeoisie is thus perfected through importalised psychopathic perspective.

XXVIII The theorization of Ultra-Lettrist hypergraphics of Grammes as decollage, because of its use of the work of different people times and places coming together in one space, mixes technical forms. That of bringing ideas together, that of moving physical spaces together and that of bringing in elements from beyond the time span of the creation of the work – ie between temporal, spatial and semantic spaces. The assault on the fixed or centred semantic space of a painting was for example predated by Picasso’s use of the Futurist newspaper in Pipe, Glass, Bottle de Vieux Marc (1914, Paris) which featured the title lettering of the Futurist newspaper Lacerba. ‘Cubism’ is in fact an early form of hypergraphy and already the incorporation of time into spatial considerations in painting, using as it does, 2 dimensions of space with 1 of time. The last school to limit itself to spatial dimensions was (social) Realism which is the use of 3 spatial dimensions and 0 temporal dimensions. The so-called 4 dimensional paintings are in fact just so-called ‘cubist’ paintings, e.g. Duchamp’s Nude Descending A Staircase (1912), which shows a 2 dimensional figure through 1 dimension of time – ie the duration of time from the top to the bottom of the flight of steps. What Lettrist hypergraphics does is introduce other perspectives through the introduction of pictures within pictures. Of note here is the use of this conceit in partisan psychic warfare by the Futurists.

The concept of painting 4 dimensions was a staple of avant-garde art of the time, with its routes in the expansion of cubism, through suprematism, expressionism, futurism as well as the work of the painters Max Weber, Frances Picabia, Marcel Duchamp and others working simultaneously at the fringes and core of Dada/Surrealism. It is evident that the romanticisation and academic colonisation of those movements is the failure of the revolutionary praxis. That the idea of 4th dimension in painting was readily taken up by the Futurists via Umberto Boccioni’s theories and manifestos of Plastic Dynamism, is a particular case in point. In this, Boccioni takes up Kandinsky’s polarisation between ‘intellect’ and ‘intuition’, first expounded through occult treatises such as Point and Line to Plane (1926). While intellect is denounced as bourgeois, intuition is used as a mystical device by which to shut down conscious thought and aid remote control manipulation through codes and symbols. Despite the fact that these painters were all suppressed by the Nazional Socialists of Germany as ‘degenerate’, history shows that it was this insidious idea that was to provide an essential form for the maturation of fascism in Italy.

Image:Image22.jpg

XXIX

So-called non-objective or abstract expressionist art via Kandinsky, as Asger Jorn notes is aligned to Euclidean geometry. This is why it was perfect for the CIA whose own psychopathic geometry centred European culture in New York to create a double perspective for NATO. Their success was partly to do with the failure of the 1st and 2nd Situationist Internationals to consolidate activities. The struggle between abstraction as sponsored by the Gugenheims and US bourgeoisie and anti-abstraction as Asger Jorn refered to the situgraphers of the 2nd International was inevitable lost by the anti-abstractionists. The support of the communists to Social Realism also must be mentioned here. The roots of this entanglement and eventual loss of coherence can be traced to surrealism but we will trace it forward the the stockists and conceptualists.

The recent article by the artist Asim Butt in the Dawn newspaper entitled Dada is Dead exemplifies the confusion surrounding the issue. In Pakistan Dada refers perhaps more to the Communist proletarian Dada Amir Haedar whose autobiography Still in Chains was recently published. However Butt is referring to the European art movement which is more likely to be being born dead than dying in Pakistan. Dada as an anti-war movement of artists in the early 1900s in Western Europe could perhaps provide valuable lessons to proletarian artists fighting a military dictatorship – perhaps not. Either way, the polarity that is presented between dada and conceptual art belies the real struggle going on in art and indeed what is useful in the work of the Stuckists. The influence of Dada anti-abstractionists of a wide base from Arp, Ernst, Duchamp to Heartfield can easily be seen on the Stuckists, As can the influence of hpergraphics incorporated text and letters as they do onto the surface of the canvas. The fact that the Stuckists continue to concentrate on paining while Sachi & this pals gravitate towards conceptual works shows nothing other than class struggle – ie that the works of Van Gogh and Picasso are far more valuable to the bourgeoisie than conceptual art is or probably ever can or will be. We must still advise them that the sovereign perspective of the individual artist can only trap them within their own canvases. A proletarian perspective requires an explicit dialogue with the other workers who have created their canvases – the workers who have created their paints and their brushes, their subjects and their objects. This is tantamount to the cultural victory of Aboriginal painting over Abstract and anti-objective painting. Here the psychopathic geometry is inversed – the powerless are redimensionalised in a dot – the symbolic lettrism of the anti-abstract force of so-called aboriginal painting as high art is only made high art through the negation of the shamanic activity of making the paint and the materials by the same ‘artist’ who executes the painting.

XXX Hypergraphical experiments make it clear that 3 dimensions (1 trimension) require another layer of interpretation. The tactic of the proto-fascists of Vorticism was to compress many dimensions worth of information into this one extra conceptual dimension. In this way they could make statements at a sub-conscious or subliminal level without having to engage in defending their political positions. However the 4th dimensional viewpoint/ forcefield, whether as an 'intuitive' dimension or as a spatialised dimension of time (intellect), only served to shut down consciousness, precisely at the point when capitalism itself was under threat during the first world war. The intellect was dismissed as bourgeois - rooted in the the mechanical universe so beautiful elucidated by Baron Kelvin. Intuition then became fetishised as a mystical device which rapidly turns in on itself, becoming an essential aid to remote control manipulation through codes and symbols, reaching its apogee as a sequence of 0's and 1's.

XXXI

We must make clear that the realm of graphics that has so far languished under the rubric of the visual arts is in fact the application and control of light as it is experienced by humanity. Uncritical reception depends upon the shutting down of other sensations such as hearing(sound) and feeling (touch) – ie these dimensions are further shut down. This leads us to 2 observations:\

● Firstly, that the usual spatial dimension is not just a demi-dimension or a third of a dimension, but given the extension of sensation through 6 faculties, it is a 54th of a dimension.

● Secondly, the shutting down and opening up of di- or tri-mensions (and the movement of human beings – and indeed anything – through dimensional or trimensional space) creates force or energy fields which affect bodies through those trimensional fields.

[edit] The 3 Dimensions or 1 Trimension of ValueThe Letter (la lettre) The Word (le mot) The subject/theme (le sujet) The Volume (of text)

XXXII

Metagraphy or post writing, writing about writing, similarly ends the containment of writing within the poles of perspective of the author and reader, by introducing other points of origin, magnitude and extension into the text. This was replaced eventually by Debord’s situations as detournment. In detournment, the title of a piece is of special importance. However, the significance of the title as the 3rd semantic dimension is overlooked. The moving of this to another piece extends this semantic space depending on where, when and how the viewer comes across it. Just as in hypergraphy, each layer works up to 3 dimensions before becoming saturated and calling for a new layer of interpretation, so metagraphy does the same with semantic dimensions.

XXXIII

Metagraphy and détournement as a discipline has also been continued in the 80s plagiarism movement and the festivals of plagiarism. Neoists and psychogeographers using multiple names take this one step further by resisting with the commodification of themselves as cultural workers. Therefore the acentric perspective of the multiple user name as the 3rd semantic dimension has continued.

XXXIV

It is worth recapping here that Lettrist metagraphics trace the letter as the 0th dimension, the allegorical motif is the 1st dimension of meaning or semantic space of language ie any word or space or line with limits of 2 letters, 1 on either end, constitutes a domain which is not rooted in a semantic space or territory of meaning until it connects with the 0th dimension via the letter and the 2nd dimension via the surface of the text – which in turn has a looser field of energy until linked to the 3 dimensions of the body, text, book or volume. Détournement was the name the situationists gave to the praxis of 2 dimensional semantic metagraphy that synthesises from the ultralettrist development of decollage and hypergraphics in the semantic rather than spatial fields. The richest part of detournement was always therefore to be found in plagiarism – a view only really taken up by the Neoists and organisers of festivals of plagiarism – because the site of conflict with detournement is not spatial as it is in hypergraphics which is a study of light and the physical shape of the text, but semantic – a study of thought – ie the ownership or identity – the meaning - of the text.

XXXV

Orientations within or through spatial or temporal dimensions lack any meaning without orientation in a semantic or value space. This is the domain of letters which are used to map value. While the Hurufis used the Persian alphabet, the Lettrists hypergraphy started to develop new letters freed of Latin script. Debord's return to the use of the French language in metagraphy can therefore on one hand be seen as a form of Anarcho-racism but on the other hand it can be seen as a focus on semantic or value space rather than becoming derailed into the religious questions in spatial considerations.

[edit] The Second and Third Dimensions of TimeThe Event The Duration The Origin The Magnitude XXXVI

Marx’s critique of political economoy analysis of the commodity put forward the following chain which looks at the transformation of commodity into money and then back into commodity:

C – M –C

Jorn’s critique of political economy adds the Natural Form and Use Form to give the measure of value:

N – U – C – M – C - U – N

We can get a picture of the commodity. But the time of capital and the commodity is gone. Wot we are now concerned with is the trimensional situlysis: the transformative morphology of the unique:

N – U - N

This is a strictly temporal-semantic trimensional situlysis: the use object is destroyed in its use but the commodity is not destroyed when it is transformed into money – it simply changes hands – its spatial location.

XXXVII

The use or commodity object have their duration, which is limited by its use. Therefore the creation and destruction of the commodity mark its temporal duration (1st dimension). The duration of its creation are the 2nd dimension and the duration of its destruction – ie its return to ‘natural’ matter’ is its 3rd dimension. This then brings all process of creation and destruction – of commodity and use – to that of the natural form and begs definition of such form.

XXXVIII

Natural form is in fact aristocratic value. Marx identifies three time periods in the development of humanity, each extending from the other – that of the aristocracy, the bourgeoisie and the proletariat to come.

XXXIX

Fazlullah Huruf before him postulated the Age of the Prophets from Adam to Mohammed, followed by the Age of Saints which he brings to a close. After him is the Age of Divinity. As stated at the start, Isou has closed that age and we have declared this as the Age of the Proletariat. In doing so we have left the triangulation of the monotheistic cults of Judaism, Christianity and Islam – whether by the Modern Khemetic Calendar, the Mayan Calendar etc. Each of these ages has its length (duration). The event itself marks the point of change of direction.

Age of Primitive Communism Age of Slavery – Age of Feudalism

The Age of the Prophets ? – 500AD (Adam – Moses – Jesus – Merlin – Mohammed) The Age of the Saints (500-1300) (Ali – Fazlallah ) Age of Industrial Capitalism The Age of Divinity (1300 - 1900) (Dante – Zevi – Isou) The Age of the Proletariat

We discussed earlier how the creation of capitalism markes the mid point of the age of divinity and its deterioration or culmination of its chiseling phase is marked by the death of Isou. This brings us into communist time – ie the surpecession of the primitive and advanced: The MKC reconnects with the time before the Jewish calendar. By connecting with the Mayan calendar which will come to an end in 2012 , we can fold time back so that we can travel anywhere inside the 3 dimensional time as delimited by our new calendar.

XL

The life time of Isou (duration) is 1 dimension, marked by the 0 dimensional points of birth and death. But Isou himself was created. This origin is the 2nd dimension of his time. His magnitude – those who come after in and in his name are the 3rd dimension of his time. It was by reducing him to an event – to 0 dimensions of time – for eternity - that the Lettrist movement tried to immortalize him. By returning his corporeality we can see what still lives in him.

XLI

To avoid the trap of the psychopathic sovereign geometry of the ruling class which is illustrated in the diagram below by Stephen Hawkings, we must rely on a proletarian geometry and refer to the work of other lettrists and place him into the context of other workers.

(BIG BANG) – JUDGEMENT – (BIG CRUNCH)

The myth of the end of the world is of course nothing new and so we should refer here to Sabbatai Zevi and the Prophet Evans who both declared themselves as the Messiah in 1648, the peak of the Age of Divinity. Temporal borders mark situations as much as spatial and semantic or behavioral/value borders such as tabu and of course both Sabbatai and Evans broke tabu as in order to break through the force fields of the ruling classes – just as Hawkings did in the 1980s, resulting in the attempt on his life at CERN.

[edit] Situational Force Fields and the 3D (1T) Forcefields of the Ruling ClassesXLII

Hypergraphics as a layering of images, going from 1 (or a third of a trimension) to 3 (or 1 trimensional) dimension/s and then layering 3(or 1 trimensional) dimensionsal layer/s over. It also worked by mobilizing the point of origin of perspective. Bourgeoise art on the other hand, relies on reducing the dimensions by limiting them to 3 or to 1 trimension and also by limiting the point of observation. It does this by negative dimensions – by forcefully constricting movement or development on the page or around it. This negartive space, time or value will automatically cause a vacuum which will necessitate action on the same plane – in a different space, time or value.

XLIII

The saturation of 3D or 1T on a 2D surface- ie the illusion of prodimensionality was what gave Realist painting its force and it is no coincidence that the realist classic painting ‘The Origin of the World’ is the most overtly pornographic paintings in the history of European painting. This painting – and the key to the power of Realism and to the later Social Realism and even Anarcho-Realism – is their value or semantic space that they create or delineate in relation to the real people who create it. While Les Demoiselles D’Avignon introduced African conceptions of beauty, The Origin of the World was painted for an African man who commissioned it.

Contrary to the slogan ‘pornography is the theory, rape is the practce’, it is masturbation which is the practice of pornography and it is a gross over simplification to equate masturbation with rape under the rubric of ‘abuse’. The bourgeoisie in seeking the absolution of commodity relations want to abolish the concept of rape by abolishing the concept of concent – ie the active perspective and expression or value/s of the worker – and replace it with a monetary value. Both masturbation and pornography are dedimensional and both do eventually tend towards rape, which is an expression of psychopathic geometry – ie the absolute dedimensionalisation of humanity and a human being to one point – in this case a penetrated orifice of the victim and the point of orgasm for the perpetrator. It is a banality to state as ‘I’ or ‘we’ must, that all sex tends towards masturbation and all masturbation tends towards sex – ie while porn and masturbation require dedimensionalisation which tends towards rape, sex requires a opening up of new dimensions – it is poly and prodimensional and therefore is based upon the uncovering of new dimensions and points of perspective.

XLIV

For us then all letters are pornographic and this dedimensionalism reaches its psychopathic conclusion in 0s and 1s which reduce love to a penetrative function. All language is sexual and its power is in creating forcefields which manipulate and shape behavior between the poles of birth and death through the construction of an individual point of view based on the visual organ – I. It is areas in this space that is locked and unlocked through an alphabet of bodily positions which are learnt and performed by military inteligence occultists in both the arts of seduction and torture.

XLV

The temporal and indeed semantic point of origin ie the proletarian orientation of the creator the alienated owner of the labour must be the vagina of the mother and it is thus a banality also to state that our relationships with our parents are always and already sexual.

We are already moving away here from the patriarchal ruling class perspective of naming a child after the father’s family and we need to push this perspective of labour so that it comes to dominate land as well as capital ownership. The word Proletariat means those whose only property is their sons but for us the proletariat must first own itself and then own its production which is everything.

The colonies that gained so-called independence, either the ACP, Middle East, Asia or in America have all seen struggle for land between workers and their so-called independent governments. The racial question and polarity between black and white – colour being a wahdat or monodimensionality – has served to obscure the fact that the families or aristocratic ruling class forms have underpinned the domination of capital over the workers. This is why in Africa the colony of Soutrh Africa was European dominated – ie European families still had relations in Europe and the individuals had their positioning in a genetic geometry based in Europe. Similarly in Australia the genetic geometry which linked convicts to Europe lasted way after the death of the individuals involved. Just like slaves before them and refugees today – people are not bound by nationality or passport – or even family, genetics or blood. A proletarian perspective takes in origin in space, time and value (identity) but also movement throughout these fields. It takes in the collaborative production of every worker we share production and consumption with but must always begin in the current space time and value.

XLVI

A return to land property ownership – be it customary, tribal or traditional – all returns to previous ruling class structures – ie of old families – eg in genealogies - rather than new proletarian associations based on proletarian perspectives which are international and open in temporal dimensions. However the perspective of the eye in the triangle is not countered simply by the eye in the heart. Their conjunction in the star of David is complemented by other star systems eg NATO or even the double cross of the UK. It is only through the continuous introduction of new perspectives that we can break out of the forcefields of power ie we can neither defer our struggle to another or struggle for any other ourselves. Revolutionary redimensioalisation is the entanglement of all our struggles. Apart form pornography we’ve also had a ‘look’ at how the forcefield of futurist painting creates illusory space for mind control and semantic entrapment rather than navigation while how that of lettrist hypergraphics empowers the viewer in their environment for a new navigation – we can see this in other art forms. The Lettrists attacked photography and realism not just through hypergraphs but also through cinema. Cinema without images is the removal of the temporal dimension of duration from the image, or put another way, the reduction of the 3 spacial dimensions to 2 ( a surface of black or white or indeed lines and points on the plane – with the addition of the temporal duration of the image. Lettrist cinema was a critique of cinema as photography – by dislocating sound and image, the dimension of sound is released from submission to vision. The dimension of sound as separate is thus opened up. The associated semantic dimension is released.

XLVII

The painting or cinema as photograph supposedly offers 3 spatial dimensions on 2 – this creates the force field which Benjamin referred to as it ‘aura’, ie a trimensional forcefield which is formed as long as the viewer’s other dimensional aspects such as touch taste etc are shut off. However, in giving a title – we have a single semantic dimension on top, while the temporal dimension is 0 – an event frozen in time. Cinema itself, being the temporal succession of frozen still images does nothing more. Movement is an illusion – the effect of the energy field on the semantic space. It calls for a movement in value or semantic space if not in physical or temporal space.

XLVII

Lettrist cinema therefore collapses the energy in one domain to unleash it into another or other dimensions. Integral to Lettrist cinema is provocations in the audience. The lettrist intervention of the workers perspective. Hence new points of origin and projection are introduced. The 2 dimensional screen opens into a 3 dimensional (trimensional) stage of performance. Recent researches have looked into this forcefield and the creation n of reactions which are necessitated by the situgraphic effect.

XLVIII

Ultra-lettrist hyopergraphics did much the same in adding torn posters into their graphics. Again a point in remembered space is introduced into the 1 semantic dimension. When Benjamin states that mechanical reproduction has destroyed the aura – it is the energy field created by the trimensional restriction of realism. This energy is not lost – and it is not merely displaced. It is capable of being amplified by Lettrism.

How that force is held in fields of force depends upon how it is displaced into expansions of dimensions and contained by shutting them down – ie the dialectical movement between al-wahd and al-kathir = through 6 further sets of 9 dimensions.

[edit] Exegesis of the 6 Fold Path to Corporeality:Breaking Out of the Spectacular Force Field

XLIX

If European culture has so far limited itself to the organization of light, thus limiting itself to a spectacle and permanent removal of life to behind a lens – and this includes the separation of people from each other and themselves, we must unfold the suppressed and oppressed disciplines related to the study of the real world.

To start we must separate the graph from the photo – as exemplified by Lettrist poetry, painting and cinema. But we must go further.

L

We must note here that our trajectory along a 6 fold path to corporeality flies in the face of the following from the introduction to Euclidean geometry by the man J-D. Published at the peak of the Age of Divinity it outlines at first the polarity of points of origin and projection and then the situational force field limits of the capitalist value space - which we explode.

J. DEE Here haue you (according to my promisse) the Groundplat of my MATHEMATICALL Præface: annexed to Euclide (now first) published in our Englishe tounge. An. 1570. Febr. 3.

Simple, Which dealeth with Numbers onely: and demon¬strateth all their properties and apper¬tenances: where, an Vnit, is Indiui¬sible. In thinges Super¬naturall, æternall, & Diuine: By Appli¬cation, Ascending.Arithmetike. Mixt, Which with aide of Geometrie principall, demon¬strateth some Arith¬meticall Conclusion, or Purpose. The vse whereof, is either, The like Vses and Appli¬cations are, (though in a degree lower) in the Artes Mathe¬maticall Deriuatiue. Principall, which are two, onely,

In thinges Mathe¬maticall: without farther Appli¬cation.Sciences, and Artes Mathe¬maticall, are, either

Simple, Which dealeth with Magni¬tudes, onely: and demon¬strateth all their properties, passions, and apper¬tenances: whose Point, is Indiui¬sible. Geometrie. In thinges Naturall: both Substã¬tiall, & Accidentall, Visible, & Inuisible. &c. By Appli¬cation: Descending.Mixt, Which with aide of Arith¬metike principall, demon¬strateth some Geometricall purpose, as EVCLIDES ELEMENTES. Arith¬metike, vulgar: which consi¬dereth Arith¬metike of most vsuall whole numbers: And of Fractions to them apper¬taining. Arith¬metike of Propor¬tions. Arith¬metike Circular. Arith¬metike of Radicall Nũbers: Simple, Compound, Mixt: And of their Fractions. Arith¬metike of Cossike Nũbers: with their Fractions: And the great Arte of Algiebar. The names of the Princi¬palls: as, At hand All Lengthes.— All Plaines: As, Land, Borde, Glasse, &c. All Solids: As, Timber, Stone, Vessels, &c. Mecometrie. Embadometrie. Stereometrie. Deriuatiue frõ the Princi¬palls: of which, some haue Geometrie, vulgar: which teacheth Measuring How farre, from the Measurer, any thing is: of him sene, on Land or Water: called Apomecometrie. Geodesie: more cunningly to Measure and Suruey Landes, Woods, Waters. &c.

With distãce from the thing Measured, as, How high or deepe, from the leuell of the Measurers standing, any thing is: Seene of hym, on Land or Water: called Hypso¬metrie. Of which are growen the Feates & Artes of Geographie.

Choro¬graphie.

Hydro¬graphie. How broad, a thing is, which is in the Measurers view: so it be situated on Land or Water: called Plato¬metrie. Strat¬arith¬metrie.

Perspectiue, Which demon¬strateth the maners and properties of all Radia¬tions: Directe, Broken, and Reflected.Astro¬nomie, Which demon¬strateth the Distances, Magni¬tudes, and all Naturall motions, Apparences, and Passions, proper to the Planets and fixed Starres: for any time, past, present, and to come: in respecte of a certaine Horizon, or without respecte of any Horizon. Musike, Which demon¬strateth by reason, and teacheth by sense, perfectly to iudge and order the diuer¬sitie of Soundes, hie or low. Cosmo¬graphie, Which, wholy and perfectly maketh description of the Heauenlym and also Elementall part of the World: and of these partes, maketh homologall appli¬cation, and mutuall collation necessary. Astro¬logie, Which reasonably demon¬strateth the opera¬tions and effectes of the naturall beames of light, and secrete Influence of the Planets, and fixed Starres, in euery Element and Elementall body: at all times, in any Horizon assigned. Statike, Which demon¬strateth the causes of heauines and lightnes of all thinges: and of the motions and properties to heauines and lightnes belonging. Anthropographie, Which describeth the Nũber, Measure, Waight, Figure, Situation, and colour of euery diuers thing contained in the perfecte body of MAN: and geueth certaine knowledge of the Figure, Symmetrie, Waight, Charac¬terization, & due Locall motion of any percell of the said body assigned: and of numbers to the said percell apper¬taining. Propre names as, Trochilike, Which demon¬strateth the properties of all Circular motions: Simple and Compound. Helico¬sophie, Which demon¬strateth the designing of all Spirall lines: in Plaine, on Cylinder, Cone, Sphære, Conoïd, and Sphæroid: and their properties. Pneuma¬tithmie, Which demon¬strateth by close hollow Geometricall figures (Regular and Irregular) the straunge properties (in motion or stay) of the Water, Ayre, Smoke, and Fire, in their Conti¬nuitie, and as they are ioyned to the Elementes next them. Menadrie, Which demon¬strateth, how, aboue Natures Vertue, and power simple: Vertue and force, may be multi¬plied: and so to directe, to lift, to pull to, and to put or cast fro, any multi¬plied, or simple deter¬mined Vertue, Waight, or Force: naturally, not, so, direc¬tible, or moueable. Hypogeiodie, Which demon¬strateth, how, vnder the Sphæricall Super¬ficies of the Earth, at any depth, to any perpen¬dicular line assigned (whose distance from the perpen¬dicular of the entrance: and the Azimuth likewise, in respecte of the sayd entrance, is knowen) certaine way, may be prescribed and gone, &c. Hydra¬gogie, Which demon¬strateth the possible leading of water by Natures law, and by artificiall helpe, from any head (being Spring, standing, or running water) to any other place assigned. Horometrie, Which demon¬strateth, how, at all times appointed, the precise, vsuall denomi¬nation of time, may be knowen, for any place assigned. Zographie, Which demon¬strateth and teacheth, how, the Inter¬section of all visuall Pyramids, made by any plaine assigned (the Center, distance, and lightes being deter¬mined) may be, by lines, and proper colours repre¬sented. Archi¬tecture, Which is a Science garnished with many doctrines, and diuers Instructions: by whose iudgement, all workes by other workmen finished, are iudged. Nauigation, Which demon¬strateth, how, by the Shortest good way, by the aptest direction, and in the shortest time: a suffi¬cient Shippe, betwene any two places (in passage nauigable) assigned, may be conducted: and in all stormes and naturall distur¬bances chauncing, how to vse the best possible meanes, to recouer the place first assigned. Thaumaturgike, Which geueth certaine order to make straunge workes, of the sense to be perceiued: and of men greatly to be wondred at. Arche¬mastrie, Which teacheth to bring to actuall experience sensible, all worthy conclu¬sions, by all the Artes Mathe¬maticall purposed: and by true Naturall philo¬sophie, concluded: And both addeth to them a farder Scope, in the termes of the same Artes: and also, by his proper Method, and in peculiar termes, procedeth, with helpe of the forsayd Artes, to the perfor¬mance of complete Experi¬ences: which, of no parti¬cular Arte, are hable (Formally) to be challenged.

LI

One of the innovations of the Ultra-Lettrists was that of crirhythms – the exploration of sound and the uncovery of the phenome as the letter or wahdat point of meaning. This shows the trajectory of the development we shall take after no.2 below, being a development of the line taken from poetry into cinema:

1. Light Photo // graph (point, line, plane, letter…) – eg telephoty, telegraphy – which is reduced to its lettrist field through hypergraphy, hyperphoty

Much of the above has been concerned with a critique of graphic and visual arts. This critique will depend on how much we can open the way for the other dimensions to manifest value.

The 3D or 1T force field is as discussed above, the use of 2 dimensional surface over 1 dimensional duration creates 3 dimensional (1 trimensional) illusions.

2. Sound Phono // audio (… phoneme ..) eg telephony … hyperphony

In space sound travels as waves and we can envisage a similar point-wave duality as light. Music, however, is usually considered a time based medium due to rhythmic time but Lettrist work into cryrhythms at first dealt with the semantic unit of the phoneme which is the audio equivalent of the letter.

The trimensional forcefield here is contained in a 2 dimensional time frame of duration and origin ie rhythm is built upon the repetition of phrases in time which connect together in a duration. Hence each phrase, verse is originated in the last. In this way music is not linear but cyclic and 2 dimesnional. Again the dimension of space is the location of transmission or hearing. Like any point this immediately opens up but even dancing and movement can be limited to a point in space.

3. Smell Fume ( smell , fragrance ) eg telefumy … hyperfumy

Chemical properties give us the periodic table as the alphabet of smell. This constitutes the semantic space. In space and time we can see that dimensions constantly open out due to the movement of fumes and gasses being much quicker than solid objects which graphics have been more concened with.

The pharmaceutical – and health industries – in fact industries of death and their counter cultural manifestations in the self medicational worlds of crack and smack are the focus for activities in these fields.

4. Taste Linguary ( ) eg telelinguary, hyperlinguary

Cooking is a time based practice, with origin and duration.

Growing

Preparation consumption

cooking

5. Feeling – path (touch feel …. ) telepathy, hyperpathy, Its special and privileged place has so far been the bed. Sleep is its domain – its time space and locus of semantic or value space is 1 spatial dimension, 1 temporal dimension 1 semantic dimension.

6. Thought – logy ( idea,, … ) teleology, hyperlogy This is the real praxis of what is commonly known as telepathy – not the transfer of feelings, but of thoughts.

[edit] Defusing the Quantum Time Bomb – When didn’t We Stop the Freemasons of the Future?The Data miners strike: Special taskforce for the Preparation of the Abolition of Money (the SPAM Humanifesto)



LII The significant difference between the development of hypergraphy and the developments in hypertext, e.g. the semantic web, is that the latter is a psychopathic geometrical colonialism. Tim Berners-Lee first conceptualised the World Wide Web at the Centre for European Research Nuclear (CERN). The programme on which the system is based equates people with files – authors with their texts: ie the perspective makes no difference between people and texts and other objects. This anti-materialist perspective is based in de-dimensionalising geometry where a person is always located within space, time or meaning, rather than being the origin and source of all space, time and meaning – as is the case with situmetry.

LIII

The quantum computer therefore reduces all human perspective to its own function of data transfer. The Lettrist perspective show that the creation force, the innovation of any sort is not human capital but labour. We therefore focus on these workers who can directly intervene into its operation and bring it into direct contact with the proletariat at large. For this purpose we propose a new miners union. The new data miners who are emerging as the field has emerged over the world can now link up with other miners – from minerals and metals, to factory workers as well as peasants and others working on the land, on on any sort of capital.

LIV

The data miners are called on to stop working on government data and commercial collection and begin to consolidate the lines of communication between workers along their lines of production – in the raw materials – in the processing and in the use of all materials used in their work. This is urgently required of course in the arms industry where owners and workers of the land where these commodities are used, miners of minerals and materials, factories of production, the researchers and developers along with the soldiers and users of the commodities must come together to discuss and decide on their future use.

This however must be based on the immediate organization of workers in this space, time and value.

The commodity of the book is a perfected bourgeois commodity. In attacking capitalism we hereby link with the workers / creators and proletariat who:

• created the computers, hardware and software which we used to create this text

• created the paper

• created the ink

• created the ideas which we have used

Who with us we hope to manifest a pentagonal proletarian perspective. We call on other workers and proletariat to correct and guide us in these efforts,

sincerely,

Buffy Anne Summers, Cusp Capricorn/Aquarius, 409