12 SEMIOTIC PRESSURES

I’d like to share a story from our household that looks at semiotics in a more intimate light. We had a Belgian Shepherd named Olaf my wife purchased some years ago when we were first married. Olaf had a penchant for attacking older women and small animals. As he got older, the penchant got worse. Finally Olaf murdered one of our goats after a long and violent career targeting animate and inanimate objects and we had to put him down. Immediately, Kim found another dog of the same breed, which we still have. Emma was much calmer and gentler. Last weekend, I brought Emma to the beach for a run. There was nobody there, and she was running and having fun. Bear in mind that this has been going on all summer, even on busy days, without incident. Then an older woman arrived carrying a small Terrier. As Emma approached, she put her small dog down to play. Much to her horror, Emma grabbed her dog in her mouth and shook her violently in the air, fortunately with only minor resulting damage.

Going back to when Olaf was alive, Kim occasionally took a small pleasure in some of the cruel antics he performed. However, as Olaf's behavior became more and more deranged, Kim was faced with examining why she felt this way. Slowly, a certain threshold was being reached beyond which the awareness of the dog’s sadistic impulses could not be tolerated, ignored or rationalized by the normally kind-hearted Kim.

When the experience occurred, I began to have the feeling that some overriding semiotic was influencing both the dogs and Kim alike. Was Kim selecting dogs that allowed her to externalize and study an uncomfortable part of her psychology? Was there an unconscious intent being generated by a semiotic lodged in Kim's psyche? Was this semiotic somehow selecting a specific breed to demonstrate its compulsive power?

In the case of Emma, she did not for the longest time show any violence towards humans or domestic animals. Then, a few months ago, she tore the eye out of our Dachshund in an apparent food fight, directly in front of Bryn (our 5 year old). Did this mean the pressure from the semiotic was ripening, or the threshold to restraining it was being eroded? I felt as though I was witnessing the very processes we have been discussing unfolding in a deliberate manner for my inspection.

After the incident on the beach I broached the possibility that both dogs somehow seemed to reflect a certain sub-surface rage in her. Normally, this rage is quiescent, eclipsed and subsumed by moderate and gentle behavior. However, it does boil over at certain times, occasionally in a very irrational way. It seems as though various hurts and indignities of an earlier time in her life were buried in a part of her psyche that maintained only a tenuous connection to her conscious mind. When I mentioned the parallel behavior of the dogs to her occasional social hostility, she was flabbergasted; it was like she had never considered the connection. Perhaps repressed material of an uncomfortable emotional nature in time becomes an autonomous semiotic floating around in the psyche.

What is not so easy to comprehend is the psychic power of the semiotic to operate with autonomy in the context of a person or a group, in our case impacting dogs, husbands, children, friends, etc. One wonders if ancient and primitive peoples saw these occurrences and set about devising radionic and artistic strategies to bleed energy from these semiotic structures, which were given mythological characterizations. Western culture knows this process best through Classical Greek Theater, via the catharsis, providing emotional ventilation of the ubiquitous Oedipus complex.

The question for me as an artistic advocate for radionic technology is how to best develop and understand this modern, scientific discipline of semiotics in the pursuit of an energetically based art? When it comes to using radionic theory, for instance, the impediment is the technology itself. It has been reduced to absurdity by the very scientific mindset that, in your narratives, now employs it via semiotics. Still, we are assigning more to the radionics box than its function as a mere instrument. Semiotically speaking, it is the repository of the Representamen and the pivotal juncture where intent crosses the information barrier and becomes functional and energetic, adding value to life.

By stark contrast, the semiotic influencing Kim and the dogs couldn't care less whether it received conscious interpretation by them. It just powered on through their psyches, with or without their consent, forcing its own brand of interpretation on the hapless victims.

When it comes to art, I find a similar situation. Whatever shamanic understanding of semiotics exists in art has been superseded by another metric, business. For market makers, anyone is a target. When marketers connect their intent to us through the proper semiotic handshake, the energy downloads and off we run to the malls and theaters. This "art" is merely a facilitator for a market driven cultural hegemony. This is what I find so depressing. One would hope radionic/semiotic technology could eventually create a counterforce to this situation, and not just make it worse.

You describe the semiotic water going down the pipeline, right through the molecular to the sub-atomic level; information and intent seeking a return on its investment of energy in value-added survival potential. What I want to see is what goes back up the pipeline? By that, I mean are we examining all these things in only one context; survival and propagation? What I believe art originally facilitated was the absorption of lower semiotic structures into higher structures, to the point consciousness became a technology for constructing reality.

Some artists vividly experience this sacred component; it is what separates us from brutal nature. To me, the only reason to combine radionics with semiotics with design is to further an art that liberates the psyche from determinism and materialism.

It is one thing to understand and use a technology, another to find ourselves controlled by it. If the military really had a technology that could control behavior, they could better liberate us from self-destructive habits and we wouldn't need to wage war. We wouldn't waste our military force at all. We could be exporting semiotic/radionic transceivers disguised as a works of art that broadcast forgiveness.

Maybe they would operate something like a cloudbuster; the semiotic art piece would couple to the ZPF, sucking out distorted semiotics and replacing them with the creative fervor of the life energy. We could test it out on the White House. It is the ultimate non-lethal weapon.

So, what end does the intelligence community serves, business, political, or extraterrestrial? Whatever it is, they don’t want these kinds of tools for good. Whatever purpose it serves, the context is Darwinian; at least that is my impression.

This is great. I was compelled by thoughts raging all night long to tell you about the "pressures" that can build up in semiotic creatures..."pressures" indeed greater than mere physical forces, even magmatic-plate tectonics etc. folding and bending and twisting and even changing the biochemistry of the rocks...think about it. There are pressures built up in the brain due to semiotic convulsions that rival and can exceed the greatest of earth-world forces. It can make a person launch a thousand nuclear bombs, or walk into a Gaza Strip cafe and blow up everyone.

Anyways, I was working with the Russian Academy of Science Group in Reflexive Control and we were developing an N-Dimensional Graph, called Krylov Space after the Russian bio-mathematician, Krylov, and we developed this cursory folding map of how the brain can twist and turn Semiotics into Biological Pressures, and in certain regions of the Map, the person would as one would expect under harsh and continuing intense pressures...be pushed and molded into some perverse forms of behavior. In other areas of the Krylov Map, where things were going good the Map was like a quiet estuary or shallow sea…very mellow. So, going back to my mental models of the extreme vortex that Krylov Space can extend - I was prompted to talk about the following...and then I get this email from you and you are hitting all around what it is that I want to get into.

Do we have just one REPRESENTAMEN of ourselves, just one copy that we attend to for reality checks...do we have a master copy that we use to Heal ourselves, or to project via ZPE to others as an initial communications link...like how a plant sends out a rhizome to test for fertile connections and whether more formal plant structures make sense to follow...

Well, the answer in Brain Terms is NO! Where as the DNA shows a perfect copy to the rest of the world...the BRAIN, by virtue of its very structural development, sends out a Semiotic REPRESENTAMEN that is very biased to the number of Sensory Bundles that it possesses to test the world. Whereas a copy of the DNA will tell a cell exactly at what point to become what kind of precise agent of life, the BRAIN tells a more IMMEDIATE, Survival Beckoned, Story or Copy of our Identity. This other REALITY, this other REPRESENTAMEN, this other Identity, is the HOMUNCULUS.

And it is the Identity of the HOMUNCULUS that orients how we, on a Krylov Basis, engage in interactions, semiotic communications, with others. And our self-identity is the number of neurons attached to sensory and perceptual controls and filters that defines how we SEMIOTICALLY see ourselves.

And Duncan, this HOMUNCULUS view of ourselves is quite distinct and erroneous from how we Publicly Announce the HAND-EYE mirror reflection of ourselves...for the Hand-Eye Identity, or the mirror kind of reflection of who we are, is very unlike the HOMUNCULUS or sensor perception ratio view of ourselves…very big lips, huge hands, tiny ribs, etc. And both the Hand-Eye, HOMUNCULUS, and also the DNA ultimate cell expression of ourselves for healing purposes are all so very different that if we try to impose any one Identity upon ourselves we will suffer from hopeless inextricability from such intertwined REPRESENTAMEN. Now add to this the untold number of other people telling us that we are a little bit of this and a little bit of that and it becomes obvious that a Biological System, containing these various different identities, is bound to be in a complex adaptive process of figuring itself out and unwinding itself…only to more completely BOLLIX up the entire concept, getting ever more entwined in itself, and ever more uncertain of what is the TRUE IDENTITY...

So when one says Seek the Truth...what Truth should we seek?

If we seek DNA truth, then we see how the cells will ultimately accord themselves to create a unique individual within a unique species.

If we seek HOMUNCULUS truth, then we find a biological object that responds to life based upon the number of senses, sensory patches and perceptual prongs that can be accommodated.

If we seek Hand-Eye truth, then we find ourselves comfortable in things that we can manipulate and control based on a very limited set of mirror reflections and biophysical instrumentations.

If we seek interpersonal truth, then we find ourselves trying to manipulate all of ourselves to become the model that others express upon ourselves...the truth of identity imposed on ourselves is truth.

But if we seek SEMIOTIC Truth, we find that each identity is indeed separate from any other, not only by structural components, but in the EASE by which the identity seeks out other unique identities.

Based on SEMIOTIC truth, we may actually be composed of Multiple Separate and Simultaneous truths...we can indeed navigate amongst our own multiple semiotic truths and we flow toward some common point...

This common point is TRUTH, where all each specific identities can occupy a status, aware of each other and sufficient in the self-knowledge of the differences.

Duncan, as you so passionately describe how you would go through agony in sculpture, and then you would pass into this ZPE ZONE where the Sculpture revealed itself to you. And this Bond, this bond of the truth, and your willingness to escape yourself from any one Semiotic Truth, resulted in you becoming aware of yourself, and the Sculpture. At this point, the ZPE was an open flow between yourself and the Sculpture. You were in a KRYLOV SPACE, a matrix dimensional grid of ONE IDENTITY communicating, sharing complete semiotics, with another IDENTITY… the identity, the true Representamen of the piece of ART as it could only possibly exist as at last the final true form from which it was up ‘til now encased in the hubris of covered identity.

Duncan…think about what happened in your BRAIN when you finally became aware of the FORM in the block of wood, or whatever material you were working with. When you semiotically found the form you engaged on a period of truth...and this Truth was absolutely invigorating...you became infused with energy and enthusiasm and excitation...your KRYLOV SPACE began to RESONATE with SEMIOTIC ZPE.. Further, when you produced your work of ART and showed it others…the energy and the zone contained sufficient ZPE energy to entrain others to share in your TRUTH.

Because TRUTH converts others into TRUTH. TRUTH is at the FORMATIC basis of the universe; all things are converted into each other’s identity. Each is as of the other, and all things are one, yet they are themselves.

Now we get into my experiments, and the experiments of others, to measure this TRUTH of KRYLOV SPACE at the wavefront between LIFE and DEATH, which biologic creatures experience, but not non-biologic creatures. Up to some point, one can identify and measure the destruction of IDENTITY of a biologic versus a non-biologic. Intuitively, if you could turn on a KRYLOV radar screen of sorts and blew up a Rock, the truth and the disruptions of Rock Semiotics would necessarily be of a different class than taking a Living System, such as a tree or a Whale, and blowing them up.

At the moment of explosion, the SEMIOTIC identity of the OBJECT would be destroyed. But just as different items leave a different explosive trace, would we be able to differentiate the explosive death patterns of Semiotic Truth…The answer is YES.

If one truly allows the Hand-Eye Semiotics to subside, and the DEEP, DEEP DNA, deep sleep, Theta and Delta brain wave frequencies to dominate, we should clearly see that there is at some precise moment in space-time of one or many particular Quantum states...an instantaneous Disruption and Dispersion of TRUTH. We can measure the change in LIFE and IDENTITY, and if we are very exact in following the after signals, we can track and monitor the new pathways that the previous truth, now destroyed in its current form, is now embarked upon.

If we are very careful as we browse through our MIND, listening to hand-eye semiotics, and DNA semiotics, and TRUE SEMIOTICS powered by ZPE...we can now differentiate many, many different Identities and REALITIES and many, many forms of Truth...and become more in tune with how our KRYLOV SPACE is reaching out and interacting with other SEMIOTIC forms.

Is this thought that is in my head the OBJECT, or is it the INTERPRETATION of the object, or is it only one of many different forms of REPRESENTATION or copies of the object form…

Duncan, you are so aware of your surroundings and the internal forms of things that you naturally flow with the ZPE that drives the universe. ZPE is the natural fuel of semiotics. SEMIOTICS is the natural communications structure of the universe. And when a TRUTH interacts with a TRUTH, then a ZPE channel is formed into which all other forms of Semiotics and truth flow in and become jumbled up into rich, complex, chaotic life — from which TRUE ART, TRUE SCIENCE, TRUE SEMIOTICS, in essence TRUE FORM or TRUTH, will again come forth.

Across the universe, where such SEMIOTIC TRUTH POOLS are found undisturbed, or where they are encountered where fundamental processes are truncated or DisINTENDED, the INTENT is not to move beyond the current State of being. There must be MASSIVE, SIGNIFICANT, SEMIOTIC PRESSURE RIDGES and Resonating POINTS, like a volcano about to explode but the plug is just strong enough to cap the rival energies below...or it is like a Semiotic Battery, sending out repetitive after repetitive signals that there is a semiotic event that is being held barely in check by other universal forces, or biological or human or spiritual forces.

Tonight, as you fall asleep, specifically task your Krylov Semiotics to venture out from the body, out past the homunculus, and into and beyond the DNA vibrations. Fan out from the brain, but maintain MIND, and seek out a resonating SEMIOTIC battery, or a Semiotic Truth...and request that your alert, waking Alpha Brain State Krylov persona encounter this Alien Semiotic Find, and engage in the Interpretant of the object, and consider the various Representamen of this novel semiotic object...and bring back to your Krylov Space capacity, the Semiotic Truth of this newfound ZPE fed semiotic or turn on some distant semiotic battery and describe another LIFE POOL somewhere else in the universe…and that when you next awake, you will be aware of the nocturnal journey...and that during the next day, you will provide yourself evidence of your, Not archaeological, but rather SEMIOTIC dig.

Duncan, you naturally do this...but for the next few weeks, vigorously invite yourself to EXPLORE...explore Route 66. But be careful not to get on Route 666!"

Since we seem to have solved all the big questions, I’d like to expend some attention on the mundane. I've been burrowing down of late into semiotic layers deep beneath the human waveform, down where the ancient thought forms dwell… It seems to have something to do with the direction of our conversations of late…

For quite some time due to the illness and dementia of my mother, I have been extensively preoccupied with her affairs. In fact, it goes all the way back to my father's death a few years ago. Following that event, after many blissful years in New York, I found myself back in the family meat-grinder again.

The family karma is heavy with unresolved emotions. For a number of years after our father’s demise my brother and I didn't speak. Gradually things thawed out between us when we realized elements within the greater family were exploiting this situation at our expense. We got down to the business of sorting out some of these thorny problems. From my perspective, little family nightmares have been tarnishing joyful daily life for years. Perhaps you would see a trail of autonomous clinging semiotics passed down through generations, kept functional by virtue of bound emotional energy.

This situation became grueling of late, with the dividing up of our family effects. These effects were significant; houses full of all kinds of stuff; beautiful stuff, valuable stuff; she never threw anything away.

In many ways one family member is very similar to our mother; he never throws anything away. He is masterful at using inertia to obtain his desired end. This ability has made getting through the many details of our duties excruciatingly painful at times. Overwhelmingly, my strongest impulse has been to explode; just trash everything and run for the hills. That has not been an option under the circumstances, however. What remains is a long, slow, torturous addendum to real life; the care and feeding of petulant semiotics (and a bad case of hives).

Anyway, about two or three weeks back we were stymied in the middle of dividing up some of our mother's possessions. They had been taken to my studio following her recent move to a nursing home. The stuff was scattered all over the studio and in my way, lying there for weeks as the inertia thing played itself out. Time went on; we gradually divided up a few things, but the remainder still took up a lot of space, and I was getting crazy.

Then, about three or four days later I sat down one evening to meditate on it all. It didn't go well, I felt even more uncomfortable. I finally decided to just lie down. Slowly a burning pain began to spread throughout my legs and hip. Thinking it would go away, I just waited, but finally I took some arthritis medication. The next thing I knew, I am in a dream, a very lucid dream. I was quite fully conscious of my self and my surroundings.

The dream began with me picking up a much loved, but now deceased deeply exasperating anima figure at a very homey looking suburban house, like the one I grew up in. She came running out to my car just as though we were right in the middle of Grosse Pointe. In fact it was so normal and matter-of-fact that it didn't even really dawn on me that she was dead and I hadn't seen her in a long time. We went off and spent time together driving and talking and doing dream things. It was so mundane I couldn't remember any of it except this one part.

Somewhere in the middle of the dream I started to cough very hard. The next thing I knew a big wad of something was flung out of my throat and onto the floor. When I went over to see what it was, the dark mass uncurled into a very primitive life form. It was something like a trilobite, one of those things with a spiked, ridged exoskeleton, about the size of my hand, and very much alive! Later on, it happened again. This time I went over and picked it up and had a hard look at it. It felt very strange.

Back in the old here and now, when I woke up, I felt turbo-charged! Whatever I coughed up really stayed coughed up. I felt like an illness was purged, a metaphysical weight had lifted in the process.

I have to mention that not long before, as part of my lingering malaise, I had begun smoking cigars again. After a few months, my chest began to hurt. Then in early November a good friend of mine died of throat cancer, just as another became diagnosed with the same, while a third was in the hospital with a collapsed lung and a fourth was praying some new antibiotic would keep away pneumonia......did I mention the fifth hanging on by a thread waiting for a new liver? (When the liver did come along he couldn't take it due to, you guessed it, lung infection.) Later, they all died, save one. And didn’t I mention you? You are sick in the middle of all this as well, are you not???

Meanwhile, in spite of all of the family angst, we are having our semiotic discussion. I am thinking a lot about radionics in the abstract, but missing things going on right in my face. My studio, my primo radionics device, has been slowly accumulating my share of family semiotics. Many heirlooms have wound up there; also the family papers, books, memorabilia. They permeated my space. Then, with the latest load, it hit critical mass. Many of the objects were charged by an emotionally dark time in my life. I thought I had divested myself of them, but here they are crushing me again! Worse, around me I am seeing disease and illness everywhere!

Men are working on the studio building, like a counter-force. The leaks are being discovered and sealed; the floors are suddenly dry for the first time ever! The broken windows are being replaced; the old machinery and glass are dragged out to the sheds, the walls are painted; the upstairs is cleaned and tuned up; now the metaphorical picture is dawning on me! More heirlooms are divided and removed, but the issue is becoming clear. The objects and their meaning must be rendered harmless and neutralized; to do this they must be symbolically stripped of significance. Boxing them up and concealing them begins to do the trick.

This is what I have been doing. It sounds insane, but the studio itself has been sucking this family energy out of me and neutralizing these objects. The original pretext that initiated all the design improvements was installing a toilet; you know, one of those things to get rid of the shit?

So now the top two floors are clean and empty; and I ask myself; what is a radionic device really for? It is for facilitating catharsis. It is for tuning us in to the metaphorical reality within which we are imbedded; you could say firmly stuck. It liberates the impressions keeping us locked down; our past. Where is our past but in the objects (and images and music), the Representamen that bring us back to our past when we encounter them? What is the nature of that transaction, if not semiotic? Where in all our daily life does the force of a semiotic rise before us with more frightening and perilous autonomy than it does in the charged objects and people of our past?

These relationships define and control us; we kill for them and suffer for them and lie for them and cry for them; and it is only at death, when they are permanently lost, that we forgo their influence. These virtual semiotics can create such a compelling radionic force for good or bad, that they overpower the other fine historical attributes of heirlooms and precious goods. You call things like them “...the controlled smart weapons of conceptual warfare...”, but they have always been used against us by our cultures, our religions, our ancestors, our family....

Yes, Yes, I am rattling the bars of the cage right now! I am taking a metal cup and banging it, skipping it hard across the bars of the mental cage, demanding to SEE MY LAWYER, to be freed from my FALSE IMPRISONMENT…and I too pick up a book with the imprint of the Trilobite, and read in the biblical chapters...And now I must put away childish things. When you put away the weight and 'heirlooms' of childhood, only then can you truly enjoy the role of the Adult. You are correct about the dead…they wish to linger on and invest themselves in our surroundings...if you let them tie you down and direct your life, they surely will...how many soldiers died in WWII because of the deaths of those at Pearl Harbor, and how many terrorists are Fadai because the foreign police state killed their relatives…brother against brother, father and mother against sons and daughters. Yes, Duncan, the spirits of the past enforce great strength upon our lives if we allow their Semiotics to superimpose themselves upon us. We can share our lives with our loved ones if we choose, but we must be careful in the power of their semiotics, the Representamen of their lives, to latch on to our every BREATH...cough it up…spit it out...Take in the Fresh Air anew...cleanse the lungs and the soul of the inertia of the past. Let the Studio tune you in to the next phase of your semiotic reality. Honor the past, learn from the past, turn to it for wisdom, but boldly strike out on new pathways, seek out new lives and new cultures, go where your senses have never dwelt.

My dad died when I was in flight school on a training mission, and then my mom died a few years later when I was at the Naval War College, and it took years for my family, three older sisters and me, to come to grips with the partitioning of the family accumulations...it was going nowhere and we were all upset with each other based on our own view of how we were treated as children and what should properly belong to us...much as you describe your situation. Then one day we realized this was futile and would go on forever without satisfactory end...So we all said we would Number the Items of Discussion...we would place the numbers into a box and shake up the box. Then we would roll dice to pick the order in which we would pick the numbers from the box. And if we picked a number corresponding to an item that we didn't care for, we could then barter with the others for items we did indeed want. Amazingly, we also prayed that the numbers we picked would be for those things we wanted, and for our Mom and Dad's spirit to guide the numbers selection -- and we all ended up with the items we wanted…the items we didn't agree upon were put up and sold and we split the proceeds. Basically, that is how we got through a tough emotional time.

Today, I am pleased with my share of my childhood belongings, such as a 1900 Victor Speaking Machine with original slate-back records of direct analogue of Enrico Caruso. Did you know that Helen KELLER used Enrico Caruso to help her identify and create her brail concept. I have a picture of her, with her hands feeling his face, chin and lips as he sings, and she is smiling because she can FEEL the SEMIOTICS of his voice creating his operatic sounds. When I play the music from 1900 on this machine for my children they get all excited knowing this is Semiotics captured from 100 years ago...it astounds them...they love it and bring in their friends to listen to MY Dad’s wacky old time record player, playing the voices of really neat dead people. I swear Duncan, it is a blast from the past to be hearing Caruso sing with all the background noise and scratching, and seeing the kids mesmerized by the sweeping sounds of the Victrola…a veritable 100 year overlap of Semiotics...it is wild, as if the Victrola is linking the centuries together into one seamless MEME.

Speaking of Trilobites...I can still vividly remember a LIFE EVENT one drizzly late October day in the mid-70s near State College, PA at a highway cut through a mountain pass. The Highway had conveniently cut through the side of an anticline mountain formation of deep sedimentary layers, much like your deep layers of memories, and had exposed the entire geologic column that we were studying at college in my major Earth and Mineral Sciences...So there I am on a Saturday morning at 0800 in the am, cold and damp with a geologic axe in my hand and I am digging at a site of Reedsdale Shale formation. I turn over a slate of sedimentary rock, reddish gray in color and as I split it open, THERE EXPOSED FOR THE FIRST TIME IN OVER 400 MILLION, REPEAT 400!! MILLION YEARS...WAS THE PERFECTLY PRESERVED INDENTATION OF A TRILOBITE. DUNCAN, IT WAS PRISTINE. AND I BEGAN TO CRY AND WHOOP AND HOLLER AND THE REST OF THE TEAM CAME OVER AND EXCLAIMED HOW COOL IT WAS AND THE PROFESSOR ASKED ME WHY I WAS CRYING…AND I EXPLAINED THAT, IMAGINE THIS, I AM THE FIRST PERSON IN OVER 400 MILLION YEARS TO SEE THIS…EVERYTHING LEAVES A TRACE AND EVERYTHING WILL BE REVEALED!

So I was intimately moved and found it of utmost interest that you would describe the object expelled from your lungs as the trilobite…this further compels me to understand that you and I are meant to be carrying out this inquiry into Semiotics and Radionics and ZPE, et al. Together, we are Revealing Objects, Interpretation and Representation of the Ages. We are burrowing along a grooved Alfven Wave to some most exotic Grid Coordinates — a powerful Semiotic Location. Hold on as best you can.

I am not at the end of my trilobite story. I have been fascinated with these things for a long time, too. I used to find them (and brachiopods) as a kid in Michigan. I also experienced the same awesome feeling about seeing these ancient living creatures now turned into stone.

My brother and I were at a point in dividing the family stuff where we came to this beautiful Japanese box of drawers filled with stones; arrowheads, mauls, meteorites and, of course, trilobites. Now my mother had collected lots and lots of rocks with us, but these were the very best. And you know I wanted that box badly. Instead, I let it go. I didn't connect everything at the time, because the dream came later, but that box of rocks was also at the core of the disgust and repulsion I felt around the whole issue of these attachments, brought into focus by the box of stones. Thinking about it, I realized the joy was in the hunt for them, the Object, and that I would keep. So, I gave them up in barter. By doing so, one part of that past was purged; quite literally it turned out.

Back to your experience; 400 million years lapse from when that trilobite was sucking up algae in the mud and the time you cracked him out of his eternal sleep. Think of all the creatures between then and now that have been sucked into mud and changed into stone or dirt! Imagine all that life force transiting those crystals; you have to start thinking that there is more to plain old rock than what we usually see.

As you know, I have been very taken by T. Townsend Brown's papers on the electrical self-potential of certain rocks, and the depths he went to isolate these rocks from outside influence, measuring their output even far below the surface of the earth. His measurements indicated that at times the rock signal was correlated to the galactic core and also were periodically eclipsed by diurnal cycles. Brown suggested that rock electricity might be electro-gravatic; in other words, that rock transformed gravity into electricity in a manner similar to the way light is turned into electricity in photo-voltaics.

When I went to Vermont a few years ago to study dowsing, one of the best parts of the trip was meeting a local Indian artist whose art consisted of finding and displaying unusual rocks. When I first saw him, he had unloaded several tons of them outside of the building where the dowsing classes were being taught. I listened with fascination as he told me the story behind each and every one of them. Of particular interest were his stories of how he went about getting some of the heavier stones out of the woods. As he told it, some could make themselves either much heavier or much lighter than they actually were. All carried unique information which contributed to their ability to be moved.

We all enjoy the geometries of nature, particularly phi ratios that reconcile brute chaos with cosmic and human standards. But we don't encounter those ratios much in raw rock. Jagged mountain peaks are as cold and as formidable and as alien an image as we have on this planet. Yet the standing stones of the Lithic Cultures were able to infuse representations of these peaks with such a powerful sense of human and supernatural beauty that we still respond with awe to their mysterious presence today. I wonder if stone may have a very special ability to store semiotics. Perhaps it isn't gravity that yields the electricity from stone but ZPE! If Alfven Waves require a magnetic interface in the cells of the brain to operate, then what role do they play in the enormous magnetic fields of the earth? Perhaps all the impressions that get formed every minute that become the past are stored not as “thought” in some astral plane, but in the magnetic latticework of rock?

I recently attached some wires to the rock ledge that is visible in the basement of the studio, using a thermal-arc spray system. Sure enough, millivoltages came pouring out. I wanted to have the “pulse” of the studio and be able to turn it into sound. I don't know if these voltages are a true signal or just an artifact of pizeo or petro-voltaics, but I can use them, I suppose, to transmit something into the rock if I could figure out what and why. Maybe rock is a radionic power source? I am thinking out loud.

Quoting Duncan: “And if they do, then perhaps all these impressions that get formed every minute that become the past aren't stored in “thought” in the astral plane, but in the magnetic latticework of rock."

Yes...and where do all the souls in the old texts, the myths, and even in the Bible go... to the underworld, to Hades...to a place of Rocks…hot rocks and cold rocks…the containers of the dead? Just like the Semiotic Death Chambers...ashes to ashes, dust to dust...soul to rocks…to the structures that are almost life. And that is why the spirit is in the stone talisman. Wow, and when you cast a stone to kill the wrongdoer, the stone must be clean of past lives...or else you start to stack up semiotic soul energies, and then the stone is the vibrating laser source of semiotic laser light...the light of the living dead. This is a whole new genre of Life and Life Forms and Semiotics. Wild. Absolutely Wild.

The arrowheads actually lead you to the kill…the meteorites once meteors that linked one planet of life to another...to seed it with the life force from distant worlds. Oh this opens up a whole new realm of thought processes. And also why the Fossil is such a powerful semiotic...it is the tomb lid of the life that went into the surrounding rock… It, the fossil, is the O and is the R and is the actual I vector of the living and the dead…the fossil is the yin/yang; it is both and more.

Quoting Duncan: “I recently attached some wires to the rock ledge that is visible in the basement of the studio, using my thermal-arc spray system. Sure enough, millivoltages came pouring out. I wanted to have the "pulse" of the studio and be able to turn it into sound. I don't know if these voltages are a true signal or just an artifact of pizeo or petro-voltaics. I could use them, however, to transmit something into the rock if I could figure out what and why.”

Maybe it should be a radionic power source? Wow. Duncan, now we are getting back to the Submarine stories I keep telling you about…there are parts of the world that share a common underground rock strata linkage...where the substrata in certain rock formations extend across the Atlantic from Rhode Island and Maine over to northern Europe. [Editors note: The rock outcropping upon which the Laurie studio is built, is geologically part of the coast of France!] If you put your ear to the strata, or if a sub puts a sound cone into the rock at the ocean bottom, or into a sea mount, it can quite easily and clearly pick up the pulse recordings; it is very clear and can contain quite complex information…and again, when there would be sudden surges in loss of life, the earth rocks would be filled with life echoes of the departing souls…departing as we are now suggesting into the Earth Rock itself, the Hades, the netherworld of pre-life — rock “civilizations”.

Quoting Duncan: "But is it a life force, or just a superannuated mechanical force?"

ZPE is the unattended energy of the universe… it is the life force that energizes and flows between semiotic channels. It exists, but is life activating when in the proper semiotic structure? The orgone circle is driving me crazy...how does the circle make my palm go cool? Again, it is the ZPE emanating across the orgone semiotic into my hand, interpreted by my mental semiotic constructs. This is energy that makes its way into my life-stream. It is not too contentious or corny to admit that ZPE is both. It depends on the semiotic. And as you so skillfully start off – the semiotic almost sounds like our soul...and may indeed be just that.

Quoting Duncan: “Now, I can't believe these paintings of Van Gogh's had this type of power when the interns at his asylum were using them for target practice following his death. These powers were acquired after the fact, I would suggest, but the images and the intensity invested within them by Van Gogh did provide a window, a powerful enough Representamen to attract attention from that point on. The nature of this window is what interests me, and you can see how it relates to the functional purposes of the shaman!”

Exactly – Remember, it takes an “I” to complete a semiotic. The interns didn't possess an I…or to say it another way...their “I” gave the vector to the object a zero value…a null point...it basically collapsed the semiotic to some misshapen semi-form of potential ZPE…but as the original paintings hung around...like Laotian land mines from Pol Pot, and more and more people began stepping into them, something began to happen. The dehydrated semiotics of the Van Gogh became blood-soaked with new-found "I" and sprang back to semiotic ZPE-laden life…and as you correctly state, became infused with so many ZPE hits and so many different “I” vectors, that the original “O”, became many overlapping O's and I's and R's that it became a “super-semiotic”. But still underlying all this is the creator of the “O”, it, the paintings and that “O” contained the mind and hand of Vincent Van Gogh.

I would suggest that rather than get warped and bummed out about how the mass of I and ZPE and R have polluted the original O...think more about the mind and hand of the O itself. Imagine concentrating on a VVG original in let's say in the Louvre in Paris. Imagine entering the painting and trying to affix to the mind/hand/intent itself. This is the art of riding the semiotic and the Alfven Wave back into the target. Just as I sent you an orgone circle and you can feel the affect on the palm of your hand, do the inverse....go into your mind and feel the affect, and then start to flow back into your hand, across the space to the orgone, or the painting...and then into the painting and back into the originator's mind/hand/intent. Now, linger here inside of VVG and get a feel for this person or event; allow yourself to close your eyes and mentally drift along the ripples and patterns that come to mind. YOU are now inside the original semiotic, the original "O", the original mind/hand/intent. This is the beauty of the Norseen Semiotic…you can journey into the TARGET with your mental faculties on search and record and playback; you can come back with samples, if only abstract thoughts to begin with. As you refine your techniques, you can actually bring back the flavor of the creme de menthe circling in the mouth the night before the painting was made; the dance halls, the sounds of the streets in the late 1800's at night, the smell of the night, mixed in with the feel of the clothes, and the other stains of his mind.

Don't get all caught up in the definitions of the semiotic...the semiotic lives and desiccates and reinvigorates and pulses and lies dormant until the right set of O, I, R, ZPE and AW finally get all in the right amount of knotty string tanglement, and voila, you have the power of the semiotic, of life, of the spiral of life to non-life, to subtle energy, to full power ZPE, to full real life, to memory, to fuzzy recollections…back to INTERNS AND TARGET PRACTICE. Always allow semiotics to open up corridors to wherever they may go...crawl in, seal up the backside, and slide into the MIND/HAND/INTENT. It will take you immediately to some journey and deposit you head over heals back to where you are, simply by an unscheduled cough or sneeze of Memory/Perception.

Some people use books or movies to do this escape routine...but if you think about it, all you need is the Semiotic and an understanding of whether you are the “O”, the “I”, or the “R”, and whose ZPE is involved, and whether you are using your Alfven grid or someone else's....now, be off my good man...be off into the GRIDLIFE.

Quoting Duncan: “Which leads me to the point: why aren't artists utilizing these techniques?” Most I know just try to survive financially and become well known!”

Exactly. Can you imagine if VVG were involved in our discussions and had access to your radionics...and so too for the many “down in the noise” artists you describe… they simply didn't have the tools of the mind, the mind technology that you and I are describing. If you don't have a tool you can't fix the problem. Simply put, these artists didn't have the radionic tools or semiotic understanding to change or reclassify their positions and careers.

Quoting Duncan: “Then today I just received the fascinating article about PEAR that you sent.”

But of course, sir. You are so absolutely correct, don't stumble over your own bounce back thoughts...the demonstration you describe is right on the bearing...keep asking your mind to guide you into the actual event...don't worry...you will create the kind of Semiotic Mortar that you are imagining...it will reach right up and Zap you. You already have the answer…just allow it to manifest itself in an actual event...and think of it this way...when you do Kick Off the Episode - you will be moving tons of ZPE around like firewater, opening up Semiotic channels like crazy, and vortexing O and I and R like imagery of the mind.

Remember, people and souls and energy move into zones of complexity and structure...the Romans filed into the gladiatorial stadiums...and so did the gladiators, as did the animals, and the SOUL WORKS of the games, those that would lose their lives and spill their blood...all for the spectacle...It took all of it to make it happen...take any part of it away, the blood, the gladiators, the stadium, the animals...and it would not be THE GAMES. If the sequence or Alfven Wave grid were off line, it wouldn't happen…it would be some odd still birth of an event; imagine all the pieces of the GAMES were there, but the gladiators were on the top rows and the victims were mauled by the animals in the tunnels beneath the view of the crowd. YOU SEE, all of the components of the Semiotic must be in place or the true event never takes place.

When all the pieces are in order, the GAMES BEGIN...so let your mind quietly steer you as the semiotic master, and let you orchestrate the items of your EXPERIMENT...and then...LET THE GAMES BEGIN...energy flows into complex structures of energy...and there is intense order in chaos...in fact, a little bit of Chaos is going to be very, very important to your episode on the other side of the O.

Last night I again had an interesting dream. I was in a car some friends were driving at high speeds around the countryside. I was stretched out in the back; it was like a limo, I was so far behind the wheel. I felt very happy and quite as conscious as I am now. Our car proceeds to get into all types of predicaments that should cause it to slow down or get stuck, but it only goes faster. At one point we barrel across a shallow wash that looks like a still pond. Now I know something is funky. Looking around, I realize the landscape is Middle Eastern, but slightly more upscale than what we see on TV. Then we come to a bottleneck, and when we come out the other side we are flying low to the ground; the car has disappeared. Coming at us is a convoy of fast moving armor; it is huge. The tires are many stories high and we are the size of a bird to an ordinary tank. We weave around and through the onslaught as though we are invisible.

Then I began to think, I’m seeing moving objects, but I hear nothing. My friends communicate via telepathy. Everything is very, very vivid. It is definitely my full consciousness, experiencing something powerful but for no known reason. Suddenly my attention is completely disincarnate. The interpretation of semiotics continues unabated. I suddenly realize this experience is demonstrating to me that my brain can construct a semiotic representation of myself, including all my emotional responses, and inject it into a seemingly real environment that is a complete artifact of my consciousness. While inside, I can’t tell whether the environment in question is actually a “place”, or whether it is a construct. Assuming it is a construct, it is one that anticipated my reactions. It existed in three dimensions, in the round, and emerged spontaneously as the car sped forward. That is a lot of semiotics; it needs a big computer that can simultaneously track what is going on outside the car as well as how I’m responding to it.

I would suggest there was more information being generated in that dream than what I normally encounter in my daily life. So, one might conclude that the “construct” was more intrinsically complex than the world around us. This is to say that “art” created by my brain functions can be a more powerful representation of reality than the outside world, even more so when powerful meaning is present in the content.

The dream suggests that intent from the hidden world behind our eyes has created these “fuel cells” of matter for the sake of projecting semiotics into form. All the time we sit here, smugly believing that we are the primary source of interpretation for this world of semiotics, when in fact we are probably just a Representamen designed by some higher intelligence to pursue its PRIZE in this medium.

So, going back to design, can a radionics device be designed in such a way that it enables the subject to stand apart from personally identifying with the stream of semiotics bombarding them, and actually allow the form of that higher intelligence to emerge into consciousness?

And Is It Art?

You say, “Assuming it was a construct, then it was one that anticipated my reactions. That is a lot of semiotics; it needs a big computer that can simultaneously track what is going on outside the car as well as how I’m responding to it.”

Behold the power of ZPE...Remember, when you open up the ORI in the NS you automatically gain the universe of ZPE. Now there are a couple ways to describe how to permit what happened. What seems like you are being anticipated by your dreams may actually be the inherent delays and “catch-ups” that are part of Perception and Subception. Very often we perceive at SLOWER RATES than we actually think, so the drama may already be spun out and waiting for you, the dreamer, to catch up with the action. And then, when you finally enter the scene, it resumes normal flow and you don't perceive the start-ups and stops.

It is much like a finished film. It appears as one continuous frame flowing into another, but in reality it has been chopped and edited many times. Dreaming, especially the lucid dreaming you are describing, is running on at least two and probably many more time cycles and time scales; Theta dialogue, and Alpha dialogue, and Delta, with ZPE and Alfven Waves distorting this and inserting that. But the great semiotic film editor, carefully, and in the nick of time, blends it all together so that you have full zoom in ORI.

Or maybe you were caught up in a semiotic loop in a brain circuit that didn't go anywhere near your Auditory memory banks. You bypassed that sub-circuit; that is why you heard no sound. Also, in dreams, there is no NOISE. You are in the circuit; you are the signal; that is why everything is so exact, so crisp – no interference. For instance, you may at some time experience a Dream solely of Color, nothing else, Color with no noise, no interference, just you experiencing color. Now if I had my special FMRI and you were in the Color Dream, I could see energy patterns in the back of your head, in specific regions of the occipital lobe. If you were in a tight little interactive feedback loop, with a string down into the hippocampus, we could literally show the Dream in Color circuit, and that is where you would be applying all the semiotics, and ZPE and Alfven Waves, but caught in a little corner of the brain universe...with one other string attaching you to the brain/reality, the striatum. Dreams all have a Time Master which enters at some point and the dream is over. The bell rings, and you switch into another thought realm. NOW, imagine that silently, some trickster, some inktomi…sneaks in with semiotic scissors and clips the string to the striatum. There is no more time. You are in the Color Dream forever; but you wouldn't care...it would become your world.

In our search for art, we must be on the look out for such islands where time is lost.