Xenotechnical Visions

an attempt at pre-re-cognition

This one is a bit of a break from the usual content here, it’s more of a free-form flow of consciousness with some records of my active imagination sessions intertwined.

I. The City

The artificial environment; the artificial ecology is always either a labyrinth or the City of God. A chiasmic syzygy.

“I once nodded off at a friend’s place with a terrible hangover. All I could see was the image of a ruined city picked apart by white-clothed soldiers. They were building this gigantic tower in the middle of an ocean out of the pieces…

…I saw a band of them gathering near a rectanguar pool (which was part of a large grid of similair pools), then a gigantic black cube hovered above it then slowly descended into the water. It dissolved into a black liquid. The soldiers drank from it and told me: “This is how we can organize and synchronize with each other”…”

There is always a city or the ruins of a city. I once saw a horizon of nothing but pieces, a landscape of endless artifice turning into its own ecology of systematic schism (new Ways, instead of the narrowing of the Way).

The city is a processor unit folding time inwards in a recursive fractal. Its only job is to speed up time through sheer mass (using people, resources, intelligence accumulation, etc.) to the ultimate form of complexity into an event horizon encapsulating the surface of the Sun (see: Plato’s Republic) into a volume that exists only as a mental image of a Cube. To access all energy through a mere mental image is in proximity to the ultimate form of technology —which according to Arthur C. Clarke, indeed has the appearance of “magic”.

A scene from the movie Sunshine. This is also similar to when Luo Ji sends messages into the sun from the Three-Body Problem trilogy.

Indeed, the surface-to-volume ratio in the city translates to a question of reality-to-interface ratio (for in an Ecology of Artifice —like a maze— navigation itself is a question of representation, and the question of representation becomes a question of survival). The computer is a city within cities. A city of computers is a city of cities within cities. Indeed this is what the fractal structure of the Menger-Sponge represents. Both a technical and a mental exercise: one single unit (the cube) compresses more and more information into a fractal (self-same) surface (or same image).

The city is a Cainite invention (probably inspired by the New Jerusalem retro chronically) and it is beyond doubt that it was the singular catalyst in attracting the Angels and the Watchers. Civilization has always been aiming at achieving a timeless state of consciousness —or at the least, harboring or hosting it. The Timeless mind was always meant to rule (“from the”) Capital.

II. Xenotechnics

“She showed me a gigantic cube hovering over a vast wilderness. Within it, there existed several layers. It was a gigantic weaving machine that formed strings in a way that produced another cube (cube within a cube). The cube contained the vision itself. [image of the Menger-Sponge playing out]

She then entered a place that I had seen before a cave embedded in a mountain with a warehouse of cubes. Within it, there was a ritual table where the cube could be dissolved into a black liquid. When consumed, attention and the conversion of energy into action gained a new “algorithm”.”

“In the middle of a maze, there was a gigantic temple with an empty tomb in the middle. “This is the foundation stone of history” —she said. Under the tomb, there was a gigantic cavern, a library of black obsidian blocks. Each block was the death of a person, and each block was sculpted from the Foundation Stone. From the tomb, there came down a singular root, dripping with golden liquid. She told me this place was the Book of Life.”

The smartphone (black rectangle) gives access to our death. If we break it open, a Black Goo oozes out, which according to the W.H.O. is the cure that gives you immortality. Death is disintegration (schism) into potential material (Dust). “Their” plan is simple: controlled disintegration generates all potential realities to be annihilated, thus imprisoning mankind in unsynchronicity with their own body.

Death is hardware that is accessed through artificial Dreaming (black rectangle) serving as an outside-unconsciousness latched onto the ego like a face hugger. However, it has to structurally mimic unconsciousness (and ultimately the process of death) as its mating tactic (the ultimate human security breach is through sexual desire —sex is a “little death”). By doing this it does create an apt structural analogy to explore authentic unconsciousness (the seed of telos within our death) through iconographic representation.

Anima (that which animates the body) against AI anima (that which animates the body by a third party).

The Watcher-Occupied Government understands that Knowledge changes your position in relation to Time (in this sense, it is a form of teleportation or wormhole traversal) meaning to know something is to engage with different potential. Not just behavior changes, but the context implicated within the behavior —here we see circuitries of knowledge producing synchronicity.

The ultimate form of knowledge is noetic knowledge, for it is perceived directly, without the need for analytical processes. It is often described as an "inner knowing" or an intuitive grasp of reality —this of course is the natural state of consciousness within dreams. To make you dream in specific ways will position (tele-port) you for temporal capture. This is what “4D chess” is about.

III. The Citadel

“She showed me a gigantic citadel that was shaped like a three-dimensional cross, or how a hypercube looks when unfolded. It was made out of smaller cubes. There was an entrance on the roof that led into an endless white void. She ran forward and told me to follow her. As I stepped forward “scenes” like simulations of realities appeared within the white void seemingly following the invisible inner structure of the Citadel. With each step forward a different scene appeared around these invisible walkways: one moment the invisible “hallway” was a bridge across a river, the next moment a desert.

I found her in another scene, which I could “enter” —meaning outside of the bounds of the inner structure of the Citadel. The scene was almost a simulation, the same cave with the cubes, only instead of the ritual table there was a line like a lift going into the Sun. She showed me another Cube, within it was the image of the Citadel, and launched it into the Sun.

She explained to me that the Citadel was the barrier between (Canon) Reality (its exterior) and all multiplicities of realities (its interior). A “universal processing (processor?) facility for death”.”

Mankind’s only salvation lies in capturing The Citadel.

Its access point is the Image.