The U.N.K.L.E BOB'! principle.
Fly Agaric 23
'Reality it is not I who am writing this crazy book," said Joyce of Finnegans Wake. "It is you, and you, and you, and that man over there, and that girl at the next table." Hugh Kenner, The Pound Era, Page 126
'Every morning, therefore, Uncle Charles repaired to his outhouse, but not before he had greased and brushed scrupulously his back hair and brushed and put on his tall hat." --James Joyce, Portrait of the Artist.
In Robert Anton Wilson's book Coincidance, described by some as a kind of readers guide to James Joyce, Bob describes and exhibits the "Uncle Charles Principle" in many ways although the three words: "Uncle Charles Principle" are suspiciously absent from Bobs writing. Wilson's gives off an aura of the "UCP" with his vivid reflections and methods for teaching along theories synthesized from such great minds as David Bohm, Alfred Korzybski, Giordano Bruno, Timothy Leary and many other of the goodvibe Illuminati, 'those who incorporated some version on the hologramic principle in their individual and particular system, scaffolded into RAW's fantastically condensed essays. The Title of the book "Coincidance" is taken from Finnegans Wake itself,
Part:1 Episode:3 Page:49, "Now let the centuple celves of my egourge as Micholas de Cusack calls them, -- of all of whose I in my hereinafter of course by recourse demission me -- by the coincidance of their contraries reamalgamerge in that indentity"
In Coincidance roughly a quarter way through the book in a chapter titled "Death and Absence in James Joyce" RAW writes: "As Richard Ellman has noted Joyce was no man to back down from a paradox, and two of the stories in his first book of fiction, Dubliners, seem indeed to drive home the points that Death and absence can be higher and more beautiful than life and presence."
Hugh Kenner says that "To wonder what "literally" may mean is the fear of the Word and the beginning of reading. - RAW
Robert Anton Wilson synthesized Pound and Joyce together in his class"The Tale of The Tribe", and shown us that the poets become united in their goals of revolutionizing the word with their RAW genius, but they seemed to create entirely different systems for accomplishing this. As the theories of Waves and particles can both be used to describe light. Stoned, I have often read page after page from the Wake starting from roughly the center of the page and then, reading off in all directions, and reading back again, looking from all quarters. Kenner simplifies the Uncle Charles Principle to: "The Narrative idiom need not be the narrator's." and so i figured that reading in different directions would produce different narrative points of view, in Ulysses Joyce often creates a sort of palindrome effect by manifesting a cloud of idioms, a bunch of folks who could be managing the narrative, slightly.
Eulaesa, Euplusia, and Euglossa bees carve scratches into the flowers of these orchids, through which the liquid perfume seeps out. The bees then absorb it through their hind feet. These insects return time and time again to the scratches they have cutinto the flowers and are consequently clumsy in their movements, which has been interpreted to be the result of narcosis (Dodson 1962) - Animals And Psychedelics, page 6.
I propose that the mysterious phenomena of animals drugging themselves will raise similar questions as we would ask about the "Uncle Charles" type phenomena, the invisible all-connecting theory or GUCT as i am calling IT, but here, applied to literature, texts, and so maybe the scientific categorical identity of a specific chemical compound, its GCAT poem. Plus the pheremonal relationships and biological information transformations between species and then, to further complex the complex, their interrelated networking between themselves as a community and then also their networking with other species too. Interspecies communications.The blueprints of a not too distant more "Greening", more telepathic type of global internet. No wires, no conventional hardware, no conventional power supply required. Just some special plants and elixirs. We technopagans are fully equipped with fine-tuned sensory apparatus, and experience with these Ultra-Highways and prepared to interact with the required mediums of communication. What we require are translators. GUCT is such a device. An approach towards better solutions and/or framework s from which to hang my questions about the nature of reality, consciousness, and language. Here for example are some collected constants produced by all sorts of hallucinogens.
1) Bright pulsating light
2) Images of tunnels and/or tubes
3) Varied but intense colors
4) Rotating or spiraling images
5) Geometric patterns
6) Erratic moment of imagery
7) Subject becoming part of imagery or participating in the experience
8) Multiple "TV screens" often displaying autobiographical data
9) Integration of memories into the experience
10) Various "complex imagery" (i.e., recognizable (often cartoon-like) human, animal and other forms) --Categorized by Ronald K. Siegal
But to access this hidden archive of conscious experience you must enter the kind of thing that i mean by Toad consciousness, or the realms of animal cognition and plant cognition. To humble yourself, first, to nature and the animal and plant kingdoms. Watch Planet earth and Smoke a joint. Its helpful i think to remind the reader of the distinctions associated with some ideas of Alfred Korzybski. Plants are energy-binding systems and generally ignore each other, animals are Space + energy-binding systems and generally utilize movement with 3 dimensional cognitive functions, and then humans are Time + space + energy-binding systems, and so our general purpose is to synergize. GUCT aims to sinnerjizz.
Is there an absence of Time paradox? In a similar way to how semiotics demands an entirely new way of reading and a whole new reality, as does mimetics? Finnegans Wake and the Cantos and Illuminatus? GUCT requires something exemplified, here, now, in the literal, textual time-travel of "future perfect passive tense" delightfully described by Eric Wagner in his wonderful teaching, Hokium Pokium:
You put the verb stem in
you take the ending out
you put the future tense of sum in & you shake it all about
you add the adjective ending
in concord with number & person
That's the future perfect passive tense. - Eric Wagner, Maybelogic Quarterly Issue one.
It seems that James Joyce, Hugh Kenner, Robert Anton Wilson, and the other proponents of the "Uncle Charles Principle", Infinite Jesters, and Zen Bastards, tricksters etc.; that the invisible phantoms and the sort of romantic 'feeling' that something is looking over your shoulder, watching, narrating, writing you. well It maybe present everywhere, narrating like the mystics have said of it. But the word for "IT" circumnavigates itself creating a field.
GUCT: A field of observers, a circle of onlookers, all dressed in different costume, with different accents and mannerisms, from different continents and cultures. A kind of historical haunting, an electromagnetic haunting entity, spooky in its invisible beauty, a whispering ghost, a congealed conspiracy cloud. Contact and connection with disembodied intelligence, extraterrestrial contact, the narrator behind each synchronicity that you experience. A bit like what Philip K. Dick describes as VALIS. The doubling of experience. Remembering ring. A repeating perception of a repeating event. again.
GUCT: Grand Unified Conspiracy Theory.
The Tale of the Tribe. According to fly agaric 23.
The whole gang of physicists, mystics, poets, comedians, spies, revolutionaries, and cops mentioned throughout RAW's books are detectable with a subtle and thirsty ear and a hungry intuitive nose. Two master authors (Wilson and Shea) writing 'IT", further splits and complicates the question of authorship and identity in the "Illuminatus! Trilogy", not to mean doubting of the literal authenticity of the books themselves or suggest that somebody else helped write the books in the vein of the boring Oxbridgefnordians. No, by questions of authorship and identity i mean a more philosophical group of metaphysical type questions regarding authorship and identity in literature, how do you narrate a character without an "IS" of identity for example? E-Prime Crime Fiction? and how does the "Uncle Charles Principle" function in Illuminatus? how does Finnegans Wake, Ulysses, The Cantos of Ezra Pound, VALIS and the others function by using multiple points of view, and UNKLE principles? and how are they woven into Illuminatus. When and where, how and why? Who's "Hidden variables" lurking under the stairs? The mystery of correlation without connection, synchronicity that brings us back to Coincidance and GUCT. And hopefully some concrete scholarly historical details to chew on.
Some might choose to use yet another term for this magical effect, recorsi or the constant circulation of energy back into itself, self perpetuating, cyclical, spiraling in and out simultaneously. An historical vortex. Invoking Pound's Vorticism, Vico and Bruno, Joyce and others, all characters from RAW's TOTT, and so within Illuminatus! Trilogy too? Like the Tao.
Joyce seems to echo what RAW teaches us throughout much of his writing "YOU are the master who makes the grass green", the 23 Enigma and all the other related spooky paraphenomena in Wilson's works seem to intone Joyce and Pound's voices. I'll leave Crowley for others to chew on. RAW has actually applied two further terms to the most potent "magical" devices employed by Pound and Joyce: Idiogramic Method and Epiphany. These terms as described by RAW give us an insight into the mechanisms, and the methods crafted by these superstars of Reality engineering. Looking from Pound's Ideogramic point of view for amoment we can see the influence of Oriental models of reality, and how they create multiple points of view that can move both backwards and forwards, that can be read backwards and forwards, up/down, inside and out, as Pound was greatly influenced by pictographs (ideograms), and was forced to revolutionize the word so as to translate what it was like to read/process Oriental poetry/painting.
Simply writing a paragraph that can be read forwards and backwards gives the communication a pictographic effect. And this is something that we find in both Finnegans Wake and The Cantos, clusters of narrators including nature's voices, moo's and chirps etc. allsteeped in histories dull tea-pot, a flurry of images and pulsating verbs all moving like the wind in all directions, across the sky page. And from this flurry of word/sound/power comes a sense of order and meaning much greater than that of most other books i have read. Because of the encyclopedic nature of these vast works, these languaging machines, It becomes, after further research, personal. The books branch out into your own back yard, or into your own kettle. Into your brew. They conspire to reach you in everyday experience with their multi-cultural linguistic harpooning and its a magical feeling when they reach you.
Although this fun alternative to left-right linear reading of the English tradition can seem like a special and sacred Key to finding a hidden code of some sort or other has been less popularized within studies of Pound's Cantos than in Joyce's Wake. Reading these two books together combined with many essays and up-to-date feedback in 2005 from Dr. Robert Anton Wilson, i started to experience the omnidirectional patterns emerging from Pound's Cantos too, more explicitly in the pictorial Ideograms themselves, levitating on the page.
Joyce's amazing Doodle family of hyper-textual languaging symbols explained by RAW in Coincidance with his own ingenious system functions and teaching tables of correspondences introduced a new symbolic language, a new model. Like Joyce's "Nat language" , my GUCT and proposed Telepathic internet are also Nat Language.Totally Alien, Totally viral.
Fly Agaric 23