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Grant appears on The Dylan Ratigan Show on msnbc on 28th July 2011 to talk about Supergods and 'how superheroes can teach others to become better people'.

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Quotes & Notes

He not only deprograms his
audience but reprograms as well, and makes listeners fully aware of the
conditioning techniques of modern society in the process. This creates what
Orridge calls "a distorted mirror reflecting Muzak back on itself.'' He believes
he can show his listeners and followers--through self-consciously cut-andpaste
house music--that the technologies in place around them can be
successfully analyzed and reversed. They contain, in code, "the seeds of
their own destruction and hopefully the structure that nurtures it.''

Cut and paste technology, applied to music, becomes a political
statement. While beginning as a confrontational assault on programming, it
developed into a race to beat Muzak at its own game. Muzak teaches that
the world is smooth and safe. There is no such thing as a discontinuity. If a
shopper in the grocery store experiences a discontinuity, he may take a
moment to reevaluate his purchases: "Did I buy that because I wanted it, or
was I still influenced by the commercial I saw yesterday?'' If a voter
experiences a discontinuity, the incumbency is challenged. Muzak's
continuous soundtrack promotes the notion that we are in a world that
behaves in an orderly, linear fashion. Cut-and-paste music like Psychic TV is
an exercise in discontinuity. But rather than angrily shattering people's
illusions about a continuous reality, it brings its listeners into a heightened
state of pleasure.

The teaching technique is bliss induction directly through
the sound technology:
"We've been saying that pleasure has become a weapon now. You
know, confrontation just doesn't work. They know all about that game, the
authorities, the conglomerates, and even the supermarkets, they know all
those scams. So straight-on confrontation isn't necessarily the most effective
tactic at the moment. Ironically, what used to be the most conservative
thing, which was dance music, is now the most radical. And that's where the
most radical ideas are being put across, and the most jarring combinations
of sounds and sources as well.''

Filtering Down to the Posse

As the band GGFH first formed, they chose to use
anti-Muzak recording techniques similar to those by Psychic TV, but for less
overtly political purposes. The closer we get to today's house music and pure
cyberian enthusiasm, in fact, the farther we get from any external agenda.
To GGFH, the enemy is not the authorities, but the repression of the
darkness within ourselves.

"We take American culture in all its fucked-up-ness, its expressions of
violence and sensationalism of violence--and stick it back in its face. Our
culture tries to suppress and repress the negative impulses and then people
like Ricky Ramirez go off and do these sick things. Then the culture feeds on
the sick things and trivializes or sensationalizes them.''

"The more of a good person you think you are, the more of a model
citizen you think you are, the bigger the evil shit you've got stored away
back there. You can never purge it. You've got to accept it. You allow for it,
and then it becomes harmless. The cultural repression of the shadow is what
is leading to the high level of violence in the world today.''

But this Brian's surfboard is
language and image from popular culture: "We find samples and cut-ups
that fit with the atmosphere of the sound. We've got one that's very dreamy
so we used a sample of Tim Leary saying `flow to the pulse of life.' Another
is a real hard dance beat, so it has Madonna sampled saying `fuck me'--
which I think is really cool because if you wanted to put Madonna into two
words, `fuck me' is pretty good.''

Radzik can't resist making another comparison: "It's like me! I've
sampled all these different religions, and created my own belief system. That
includes psychedelics.''

But Sarah is a cyborg, and finally answers his question with a long
discourse about virtual space. Our current forms of communication--verbal
and physical--are obsolete, she explains. Someday she will be able to
project, through thought, a holographic image into the air, into which
someone will project his own holographic mental image.
"Then we would literally see what the other means,'' she borrows from
Terence McKenna, "and see what we both mean together.'' It would be the
ultimate in intimacy, she tells him, touching his arm gently, because they
would become linked into one being.

For Sarah, the relationship of DNA, computers, psychedelics, and
music is not conceptual but organic. According to Drew, her Infinite
Personality Complex served as a "highly dense information loop.'' But, like
her work, her own DNA was mutating--evolving into a denser informational
structure. As an artist, she became capable of downloading the time-wavezero
fractal through her own resonating DNA, and then translating it into
music. Meanwhile, she was also becoming a human, biological manifestation
of the downloading process, evolving--like her society--by becoming more
intimately linked to technology.

In addition, using the 3-D "holographic'' sound techniques developed
for virtual reality systems, Sarah creates a three-dimensional acoustic sound
space where the audience can experience sounds as real, physical
presences. The whispers seem to come from all sides. This is not just a
"sens-u-round'' effect but a genuine cyberian effort in structure, style, and
meaning. "I'm talking about a holographic sense of presence and
movement,'' she insists. "We can take people through time that way by
creating a space with sound. It'll move people back in time.''
By creating a space with sound, Sarah makes a time machine in which
she can transport her audience--not by bringing them into a different space
but by changing the space that they're already in. The implication of her
music is that time does not really exist, since it can be compressed into a
single moment. The moment itself, of course, is Dionysian; orgiastic bliss is

Because Sarah creates her sound space out
of her own voice and cyborg presence, she feels her music is a way of taking
her audience into herself. Her ultimate sexual statement is to make love to
her entire audience and create in them the bliss response.

The Interzone
"Beat'' hero William Burroughs didn't start the cyberpunk movement in
literature, but he foresaw it, most notably in his novel Naked Lunch (1959).
Although written long before video games or the personal computer existed,
Burroughs's works utilize a precybernetic hallucinatory dimension called the
Interzone, where machines mutate into creatures, and people can be
controlled telepathically by "senders'' who communicate messages via
psychedelics introduced into the victims' bloodstreams.

Burroughs's description of the psychic interface prophesizes a virtual
reality nightmare: Senders gain "control of physical movements, mental
processes, emotional responses, and apparent sensory impressions by
means of bioelectrical signals injected into the nervous system of the
subject. ... The biocontrol apparatus [is] the prototype of one-way telepathic
control.'' Once indoctrinated, the drug user becomes an unwilling agent for
one of the Interzone's two main rivaling powers. The battle is fought entirely
in the hallucinatory dimension, and involves "jacking in'' (as William Gibson
will later call it) through intelligent mutated typewriters.

Each word or turn of phrase can lead
the reader down an entirely new avenue of thought or plot, imitating the
experience of an interdimensional hypertext adventure.

suffered condemnation from the courts and, worse, occasional addiction to
the chemicals that offered him access to the far reaches of his
consciousness. Unlike the cyberian authors of today, Burroughs was not free
simply to romp in the uncharted regions of hyperspace, but instead--like
early psychedelic explorers--was forced to evaluate his experiences against
the accepted, "sane'' reality of the very noncyberian world in which he lived.
The morphogenetic field, as it were, was not yet fully formed

"Evolution did not come to a reverent halt with homo sapiens. An
evolutionary step that involves biologic alterations is irreversible. We now
must take such a step if we are to survive at all. And it had better be good.
... We have the technology to recreate a flawed artifact, and to produce
improved and variegated models of the body designed for space conditions. I
have predicted that the transition from time into space will involve biologic
alteration. Such alterations are already manifest.''

Jacking in to the Matrix

The invention of the matrix, even as a
literary construct, marks the birth of cyberpunk fiction.

A graphic representation of data abstracted
from the banks of every computer in the human system. Unthinkable
complexity. Lines of light ranged in the nonspace of the mind, clusters
and constellations of data. Like city lights ... receding ...''

The matrix is a fictional extension of our own worldwide computer net,
represented graphically to the user, much like VR or a video game, and
experienced via dermatrodes, which send impulses through the skin directly
into the brain.

Contributing to the pessimistic quality of these works is another idea
shared with the industrial movement--that human beings are basically

Characters must behave absolutely true
to their programming, having no choice but to follow the instructions of their
emotional templates. Even Molly, the closest thing to a love-interest in
Neuromancer, leaves her boyfriend with a written, self-defeating apology:

Like fantasy role-playing, computer games, or
Nintendo adventures, these books are to be appreciated for the ride.

Like the characters in Fantastic Voyage, we move through a
multitiered fractal reality, enjoying the lens of a camera, the dexterity of a
computer design program, the precision of a microscope, the information
access of an historical database, the intimacy of a shared consciousness,
and, finally, the distance and objectivity of a narrative voice that can identify
this entity by its name. The way in which we move through the text says as
much if not more about the cyberpunk worldview than does its particular
post-sci-fi aesthetic. Writers like Gibson and Sterling hate to be called
"cyberpunk'' because they know their writing is not just an atmosphere or
flavor. While this branch of fiction may have launched the cyberpunk milieu,
it also embodies some of the principles of the current renaissance in its
thematic implications.

Even the above passage from The Difference Engine demonstrates a
sense of holographic reality, where identity is defined by the consensual
hallucination of a being's component parts. Similarly, like a DMT trip, a
shamanic journey, or a hypertext computer program, reality in these books
unfolds in a nonlinear fashion. A minor point may explode into the primary
adventure at hand, or a character may appear, drop a clue or warning, and
then vanish. Furthermore, these stories boldly contrast the old with the new,
and the biological with the technical, reminding us that society does not
progress in a smooth, curvilinear fashion.

Sterling's Schismatrix, for example, pits the technical against the
organic in a world war between Mechanists, who have mastered surgical
manipulation of the human body through advanced implant technology, and
Shapers, who accomplish similar biological manipulation through conscious
control over their own DNA coding. This is the same metaphorical struggle
that systems mathematician Ralph Abraham has explored throughout human
history, between the organic spiritual forces--which he calls Chaos, Gaia,
and Eros--and the more mechanistic forces embodied by technology,
patriarchal domination, and monotheism. In fact, Sterling's own worldview is
based on a nonlinear systems mathematics model.

"Society is a complex system,'' he writes for an article in Whole Earth
Review "and there's no sort of A-yields-B business here. It's an iteration. A
yields B one day and then AB is going to yield something else the next day,
and it's going to yield something else the next and there's 365 days in a
year, and it takes 20 years for anything to happen.''

William Gibson knew nothing about
computers when he wrote Neuromancer. Most of the details came from
fantasy: "If I'd actually known anything about computers, I doubt if I'd been
able to do it.'' He was motivated instead by watching kids in video arcades:
"I could see in the physical intensity of their postures how rapt these kids
were. It was like one of those closed systems out of a Pynchon novel: you
had this feedback loop, with photons coming off the screen into the kids'
eyes, the neurons moving through their bodies, electrons moving through
the computer. And these kids clearly believed in the space these games
projected. Everyone who works with computers seems to develop an
intuitive faith that there's some kind of actual space behind the screen.''

Gibson's inspiration is Thomas Pynchon, not Benoit Mandelbrot, and
his focus is human functioning, not computer programming. The space
behind the screen--the consensual hallucination--is Cyberia in its first
modern incarnation.

they are able to
understand the totality of human experience as a kind of neural net. Their
stories, rooted partially in traditional, linear fiction and common sense, mine
the inconsistencies of modern culture's consensual hallucinations in the hope
of discovering what it truly means to be a human being. Their permutations
on consciousness--a cowboy's run in the matrix, an artificial intelligence, an
imprinted personality--are not celebrations of technology but a kind of
thought experiment aimed at conceptualizing the experience of life.

Gibson admits, "One of the reasons, I think, that I use computers in
that way is that I got really interested in these obsessive things. I hadn't
heard anybody talk about anything with that intensity since the Sixties. It
was like listening to people talk about drugs.'' The cyberian vision according
to these, the original cyberpunk authors, is a doomed one, where the only
truth to be distilled is that a person's consciousness has no spirit.

"If you realize that the world is
nonlinear and random, then it means that you can be completely annihilated
by chaos for no particular reason at all. These things happen. There's no
cosmic justice. And that's a disquieting thing to have to face.
It's damaging
to people's self-esteem.''

Sterling believes in systems math, cultural viruses,
and the promise of the net, but, like Bruce Eisner, he doesn't see technology
as inherently liberating. "I worry about quotidian things like the greenhouse
effect and topsoil depletion and desertification and exploding populations
and species extinction. It's like it's not gonna matter if you've got five
thousand meg on your desktop if outside your door its like a hundred twelve
degrees Fahrenheit for three weeks in a row.''

It has been left to younger, as-yet less recognized writers, like WELL
denizen Mark Laidlaw, to invent characters whose celebration of Cyberia
outweigh the futility of life in a decaying world. One of his stories,
"Probability Pipeline,'' which he wrote with the help of cyber novelist and
mathematician Rudy Rucker, is about two friends, Delbert, a surfer, and
Zep, a surfboard designer, who invent the ultimate board, or "stick'': one
that, utilizing chaos mathematics, can create monster waves.

Laidlaw and Rucker's world is closer to the cyberian sentiment because
the characters are not politicians, criminals, or unwilling participants in a
global, interdimensional battle. They are surfers, riding the wave of chaos
purely for pleasure. To them, the truth of Cyberia is a sea of waves--chaotic,
maybe, but a playground more than anything else. The surfers' conclusions
about chaos are absolutely cyberian: sport, pleasure, and adventure are the
only logical responses to a fractal universe.

This is why art and literature are seen as so crucial to coping there:
they serve as celebratory announcements from a world moving into
hyperspace. No matter how dark or pessimistic their milieus, these authors
still delight in revealing the textures and possibilities of a world free of
physical constraints, boring predictability, and linear events.

Comic book artists, who already prided themselves on their non-linear
storytelling techniques, were the first to adopt the milieu of cyberian
literature into another medium. Coming from a tradition of superheroes and
clearcut battles between good and evil, comics tend to focus on the more
primitive aspects of Cyberia, and are usually steeped in dualism, terror, and
violence. While younger comic artists have ventured into a post-nihilistic
vision of Cyberia, the first to bring cyberian aesthetics into the world of
superheroes, like the original cyberpunk authors, depicted worlds as dark as
they could draw them.

Batman, the brooding caped crusader, was one of the first of the
traditional comic book characters to enjoy a cyberpunk rebirth, when Frank
Miller created The Dark Knight Returns series in the 1980's. As Miller surely
realized, Batman is a particularly fascinating superhero to bring to Cyberia
because he is a mere motal and, like us, he must use human skills to cope
with the post-modern apocalypse. The mature Batman, as wrought by Miller,
is fraught with inconsistencies, self-doubt, and resentment toward a society
gone awry. He is the same Batman who fought criminals in earlier, simpler
decades, who now, as an older man, is utterly unequipped for the challenges
of Cyberia.
Miller's Dark Knight series interpolates a human superhero into the
modern social-media scheme. Commentators in frames the shape of TV sets
interpret each of Batman's actions as they occur. Newsmedia criticism
running throughout the story reminds the audience that Batman's world has
become a datasphere: Each of his actions effect more than just the
particular criminal he has beaten up--they have an iterative influence on the
viewing public.
For example, a Ted Koppel-like newsman conducts a TV interview with
a social scientist about Batman's media identity. The psychologist responds:
Picture the public psyche as a vast, moist membrane--through
the media, Batman has struck this membrane a vicious blow, and it
has recoiled. Hence your misleading statistics. But you see, Ted, the
membrane is flexible. Here the more significant effects of the blow
become calculable, even predictable. To wit--every anti-social act can
be traced to irresponsible media input. Given this, the presence of
such an aberrant, violent force in the media can only lead to antisocial

In the Batman comics we witness the ultimate battle of icons, as
Batman and Joker conduct a cyberian war of images in a present-day
datasphere. They no longer battle physically but idealistically, and their
weapons are the press and television coverage. This becomes particulary
ironic when the reader pauses to remember that Batman and the Joker are
comic book characters themselves--of course they would behave this way.
They are their media identities, which is why their manifestation in the
datasphere is so important to them. Their battle is a metaconflict, framed
within a cut-and-paste media.

So poor Batman, a character out of the patriarchy (he is, after all,
avenging the murder of his father), finds himself caught in a nightmare as
he tries to control post-modern chaos. In Frank Miller's words, "Batman
imposes his order on the world; he is an absolute control freak. The Joker is
Batman's most maddening opponent. He represents the chaos Batman
despises, the chaos that killed his parents.'' Living in a comic book world, it's
no wonder that Batman

As the eye wanders
in any direction it chooses, the reader's disorientation mirrors Batman's
confusion at fighting for good in a world where there are no longer clear,
clean lines to define one's position. The comic-book reader relaxes only
when he is able to accept the chaotic, nonlinear quality of Miller's text and
enjoy it for the ride. Then, the meaning of Batman's story becomes clear,
hovering somewhere between the page and the viewer's mind.

Finally, though, cyber-style comics have emerged that are as
hypertextual as Miller or Sienkiewicz's, but far more optimistic. Like the
characters of Marc Laidlaw and Rudy Rucker, the Teenage Mutant Ninja
Turtles are fun-loving, pizza-eating surfer dudes, for whom enjoying life
(while, perhaps, learning of their origin and fighting evil) is of prime
importance. They are just as cyberpunk and nonlinear as Batman or the
Joker, but their experience of life is playful. While the characters and stories
in the subsequent films and TV cartoons are, admittedly, fairly cardboard,
the original comic books produced out of a suburban garage by Eastman and
Laird are cyberpunk's answer to The Hitchhiker's Guide to the Galaxy. Four
turtles, minding their own business, fall off a truck and into a puddle of ooze
that turns them into human-size talking turtles. They are trained by a rat to
become ninja warriors, and then they go on an interdimensional quest to the
place where the transformative ooze originated. Throughout their
adventures, the turtles maintain a lighthearted attitude, surfing their way
through battles and chases.

The violence is real and the world is corrupt, but the turtles maintain
hope and cheer.
Challenges are games, truly evil enemies are "bad
guys,'' and the rewards are simple--pizza and a party. The Teenage Mutant
Ninja Turtles series offers the only optimistic response to a nonlinear and
chaotic world: to become softer, sweeter, more adventurous for its own
sake, and not to take life too seriously.

Signal Compression and Mind Expansion

The multimedia quality of cyber comic books spills over into cyberian
video production, which has begun to reinterpret its own dynamic in relation
to the fantasy games, novels, and comics. While these media borrow from
video's quick-cut electronic immediacy, videographers now borrow back from
the cyberpunk style and ethics to create a new graphic environment--one
that interacts much more intimately with the viewer's body and
consciousness than does the printed page.

Global Village
enthusiasts, they hope their videos will help to awaken a network of likeminded
people in remote regions throughout the nation. Their vision,
inspired in part by McKenna, is of a psychedelic Cyberia, where techniques of
consciousness, computers, and television co-evolve.

Like McKenna, Ken and Britt believe that psychedelics and human
beings share a morphic, co-evolutionary relationship, but they are quick to
include technology in the organic dance.

"Psychedelic experiences are almost like voices from your dream state.
They call you and they seduce you. People are also constantly seduced by
psychedelic techniques on TV that have to do with fluid editing and
accelerated vision processing. People love that stuff because it strikes them
in a very ancient place, something that spirals back down into the past for
everybody whether or not they're using psychedelics. It's there already.''
Like MTV videos that substitute texture for story and quick cuts for
plot points, Rose X videos work on an almost subliminal level. Meaning is
gleaned from the succession of images more than their linear relationship.
Viewers process information moment to moment, thus the amount
processed increases with the number of cuts, even if the data is less
structured. Rose X takes these techniques a step further by intentionally
appealing to the viewer's ability to experience a kind of morphic resonance
with the patterns and data flashing on the screen.
Even their subject matter-
-their most popular videos are talks by Terence McKenna and Ralph
Abraham--is intended to awaken dormant zones of human consciousness.

"We work in a psychedelic state when we're able to. And then we have
a different relationship to our technology. We're into a concept called
`technoanimism,' where we really think of technology itself as an animistic
dynamic that filters through the individual machines, bringing an overspirit
to them--an animistic spirit that's way beyond what humans are
comprehending on their own level.''

"When you are
functioning at a high psychedelic level and you go into a cyberspace
environment, you lose your parameters and you find yourself entirely within
the electronic world. It breeds its own surprises.''

Rose X's current project, a feature-length video call Strange Attractor
emerges out of their interest in the relationship of technology to organic
interdimensional consciousness. In the story, a reversal of the Adam and
Eve myth, Rose is a "strange attractor'''-- a person who, through lucid
dreaming, can access the vast network of artificial environments normally
entered through computers or virtual reality. On one of her journeys into
cyberspace, she befriends another strange attractor--a young man who has
gotten lost in the consensual hallucination. Her task is to rescue this lost
soul by getting him to experience his body--through virtual sex--or his spirit-
-by getting him to eat a psychoactive apple. On the way, she is helped by an
interdimensional sect who use organic methods to access Cyberia, and
thwarted by an evil race of authorities, who hope to curd interdimensional
travel and trap the human race forever in its earthly, single-dimensional
The battle is typically cyberpunk, but here the forces of chaos are the
good guys, and those who put a lid on interdimensional travel are the bad
guys. The good guys are true cyberians, who use ancient techniques,
psychedelics, and computers in a nondiscriminatory cybersampling of
whatever works.

Ken is proud that his work never tries to imitate a physical reality
and is especially critical of filmmakers who waste precious resources on
costly special effects. Video art in Cyberia is cut-and-paste impressionism.
Just as comic-book artists include television images or even wires and blood
in their cells, videographers include pictures of the Iraq bombings, virtual
reality scenes, and even old sitcoms.
"We're much more like a cyberpunk comic book. We don't want it to
look like it takes place in a natural setting. We want it to all be self157
contained in a conceptual space that's primarily videographic--like virtual
reality. It'll be the reality of the imagination. We've quit trying to mimic
reality; we try to mimic our imagination, which is the root of all reality

The fully evolved cyberian artists aren't making any art at
all. They're living it.

Playing Roles

In his world, fantasy and reality are in constant flux.
Having fully accepted ontological relativism as a principle of existence, Ron
and his posse of "gamers'' live the way they play, and play as a way of life.
It's not that life is just a game, but that gaming is as good a model as any
for developing the skills necessary to journey successfully through the
experience of reality. It is a constant reminder that the rules are not fixed
and that those who recognize this fact have the best time.

Like the psychedelic trips of the most dedicated shamanic
warriors, these games are not mere entertainment. They are advanced
training exercises for cyberian warriors.

"The soul is beyond not only three-dimensional space but beyond
the illusion of linear time. Any method we use to move through three- or
four-dimensional space is a game. It doesn't matter how seriously we take
it, or how serious its consequences are.''

Ron and Russel have adopted the cyberian
literary paradigm into real life. Fantasy role-playing served as a bridge
between the stories of cyberpunk and the reality of lives in Cyberia. They
reject duality wholesale, seeing reality instead as a free-flowing set of

They want only to become
more fully conscious of the system itself.

"we're not rebels. There's nothing to rebel against. The world is a
playground. You just make up what to play today.''
These people don't just trip, translate, and download.

These people don't just trip, translate, and download. They live with a
cyberian awareness full-time. Unlike earlier thinkers, who enjoyed
philosophizing that life is a series of equations (mathematician Alfred North
Whitehead's observation that "understanding is the a-perception of patterns
as such''), or Terence McKenna, who can experience "visual language'' while
on DMT, Ron guides his moment-to-moment existence by these principles.
"I'm aware that time is an illusion and that everything happens at

What do we fight for? by Pete Philly

MGMT - Time To Pretend


MGMT - Electric Feel

Quotes & Notes

He is guiding the entire movement through a dangerous
storm. But instead of using the stars for navigation, he must read the events
of the week, the status of key cultural viruses, the psychological states of his
crewmembers, and the tone and texture of his own psychedelic visionquests.

"It's in the face of the network that tells you seven
to eight-thirty is prime time. You sleep during prime time. You share the
same place physically as that society, but you're actually moving into a
different dimension by shifting through the hours. It's an opportunity to
break out from all the dualistic things.''

but the point here is that the "dualistic
things'' considered important by mainstream culture are not hard realities,
and they are certainly not the "best'' realities

"When you move away from a massive guilt trip in which there is a
direct hierarchy, you suddenly find that it doesn't matter a fuck what your
boss or the authorities think of you. You're creating yourself moment by
moment in an environment that is created by people who are like-minded.
It's a liberation, and it's completely in the face of twentieth-century society.''
The ultimate phase-locking occurs in the dance itself, where thousands
of these "like-minded'' young people play out house culture's tribal

The dance links everyone together in a synchronous moment.
They're on the same drugs, in the same circadian rhythm, dancing to the
same 120-beat-per-minute soundtrack. They are fully synchronized. It's at
these moments that the new reality is spontaneously developed.
"The dance empowers you. It reintegrates you. And then you can start
again. It's an ancient, spiritual thing. It's where we have always
communicated to each other on the fullest level. Instead of being in this
extremely cerebral, narrow-bandwidth-television society, people learn
instead to communicate with their bodies. They don't need to say anything.

There is just a bond with everyone around them. A love, an openness.

"Nobody is that much better than the next guy that he needs a whole
stage and twenty thousand people fillin' up a stadium to see him. Nobody's
that much better than the audience. We don't need that and people don't
want it anymore. A lot of the music you'll hear tonight is never gonna be on
a record.

"A posse is very definitely an
urban thing. It's just a group of people, sharing technology, sharing all the
raves and music as an organization. We even call them `posses putting on
raves.' I really don't think there's such a thing as personal illumination
anymore. Either everybody gets it or nobody gets it. I really think that's the

There's also
"headstrong'' house, for the hardest of headbangers; "techno,'' from Detroit;
"dub,'' coined from Gibson's Neuromancer for Reggae-influenced house; and
"new beat,'' from Northern Europe. Less intense versions of house include
"deep'' house, with more space on the top layers and a generally airier
sound, and the least throbbing kind, and "ambient'' house, which has no real
rhythm at all but simply fills the space with breathy textures of sound.

"There's a sequence. You build people up, you take `em back down. It
can be brilliant. Some DJs will get people tweaking into a real animal thing,
and others might get into this smooth flow where everyone gets into an
equilibrium with each other. But the goal is to hit that magical experience
that everyone will talk about afterwards. Between 120 beats a minute and
these sounds that the human ear has never heard before, you put them to
music and it appeals to some primal level of consciousness.''

Making the Golden Rule Trendy

than discard the system that has dominated until now, the system is used to
destroy itself. The machinery of the industrial culture--be it technology,
economics, or even the more subtle underlying psychological principles and
social mechanisms--is turned against itself for its own good. Just as the
earth uses its own systems of feedback and iteration to maintain a viable

Radzik explains his take
on the Gaia hypothesis and McKenna's prediction about the year 2012:
"This bifurcation we're coming up to, this shift, will be the awakening
of the planet's awareness. That's the shared belief of the raver camp in the
scene. House is the vehicle for disseminating that culture to the rest of the

The discontinuous musical and visual sampling
trains the dancers to cope with a discontinuous reality. This is a lesson in
coping with nonlinear experience--a test run in Cyberia. A tour of Radzik's
clothing studio makes this amply clear. His design arsenal is made up of the
illustrations from an eclectic set of texts: Decorative Art of India, with
pictures of Indian rugs woven into patterns reminiscent of fractals; Molecular
Cell Biology, with atomic diagrams and electron microscopy of cells and
organic molecules; The Turbulent Mirror: An Illustrated Guide to Chaos
Theory and the Science of Wholeness, with fractals and mathematical
diagrams; and Yantra: The Tantric Symbol of Cosmic Unity, a collection of
hieroglyphics and graffiti-like ancient scribblings.

With a keen eye for the similarities of these images,
Radzik creates visually what house does musically: the discontinuous
sampling of the symbology of bliss over time. The images' similarities give a
feeling of comfort and metacontinuity.

House is merely a construction--a framework--like language or any
other shell. Once something is "in the house,'' it has been incorporated into
the fractal pattern of metaconsciousness, and is a subject of and contributor
to the greater schematic. It has become a part of the self-similar universe--
one with the galactic dance. That's why the mechanisms for change in house
might be "in your face,'' but they are almost never confrontational. With no
dualities, there's nothing to confront. "House, like punk, is an anarchic,
rebellious movement,'' admits Radzik "but it isn't a violent or negative one.

If the planet's a living organism, then it doesn't make sense to fuck with
each other.''

"The kids now are not going to turn on, tune in, drop out. They're
going to drop in. They're going to infiltrate society and change things from
within. They're going to use business, music, or whatever they can to
change people. What we're doing speaks for itself. People who are involved
in the scene are creating this stuff for themselves.''

"It's all about discontinuity. Things that look separate in our reality,
the explicate order, are all linked together in what Bohm says is the
implicate order.''

David grabs a pencil and draws a picture on the back of his hand to
make his point. "If two positrons shoot out of an atom at the same time, and
you shove one, the other will move, too.''
"How does it know to move? ESP?'' asks the girl.
"No. It happens at the same exact time.''
A couple of other kids perk up to hear the explanation. "That's because
on the implicate order, the positrons are still linked together.''
David is interrupted by a fourteen-year-old boy who seems to have a
better handle on the idea. "Bohm used the analogy of a goldfish and two
TVs. If you put two cameras on a single goldfish, and connected them to two
TVs, you might think these were pictures of two different fish. But when one
fish moves, the other will move at exactly the same time. It's not because
they're connected. It's because they're the same fish!''
"Right,'' David chimes in, eager to get credit for his knowledge before
the girl disappears under the goggles. "The real goldfish in the bowl is the
implicate order. The monitors--the way we see and experience it--is the
explicate order.''
The young boy rolls his eyes. Clearly, David doesn't understand the
implications of all this. "Kind of, only, man. The implicate order is timeless
truth. It's the way things are. The explicate order is the way they manifest
for us in time and three dimensions.''

"Thought is a distraction of the moment. Whenever we're in a space
we're processing information. In our reality, we're bombarded with
information. So in Reichian terms, we put this armor on. You know the song,
`I Wanna Be Sedated'? I think a lot of people are anesthetized by their
surroundings. It takes some really piercing hard information to break that.
Like piercing your cheeks. If you get Zen, you've got to let go, and let it all
come in. But if you let it all in, you go crazy. But if you let it come in without
processing it, without calling it good or bad ... people who label things bad
have got a lot of heaviness. Go Zen about it. There is no black or white, then
you can let everything in.''

Engineering the Synchronization Beam

"Maybe one day the mystical vision will be realized in some kind of
neurological link-up or a virtual reality. Technology does have a great
promise. It could become seamless, so that what we think of today as magic
will eventually be done by technology, and eventually we won't even see the
technology. A neo-Garden of Eden made possible by technology. But the
main rub is human nature. That's where I have a problem with the virtual
reality people.

Leary looked at me and said, `Bruce, I'm going to talk to you as I
would to a ten-year-old child.' And then he went on to explain how when we
have virtual reality, no one will have to fly anymore. No one will have to go
to Japan to make a deal. You can do it in Hawaii on the beach. Fine. But why
is that intrinsically liberating?''

It's like a Mayan temple, and
acts as a relay station. An antenna. It's a harmonic thing--beaming out
something. It's a landing beacon for starships. We are trying to attract
something down. Through time, toward us.''
Hands continue to reach into the air, and

We need to create a
synchronization wave for the planet.
Mark is referring to a recently revived Mayan idea that the planet, in
the year 2012, will have passed through the galactic time wave of history.
Time itself will end as the planet moves up to a new plane of reality.

"Media viruses work at the same level. Smart drugs, life extension,
house, acid, and VR most importantly exist in people's imaginations. This is
a clue. Mayan mathematics just came into existence and disappeared. We're
in the endgame. This is postapocalyptic. We're living under the mushroom
cloud. Being busted at precisely 11:30 last week. It was a group sacrifice--
just like the Mayans.''

can influence the fractal pattern at a different vortex, a different corner.''
We look down at the sea of bodies. The pattern their bright clothes
makes on the floor looks something like one of the fractals being projected
onto the wall.

Through the iterated and reiterated samples of music, they regain access to
the experience of total unification. It is religious bliss. All is one. And, of
course, this realization occurs simultaneously on many levels of
"Everything is
The song is the meaning. It lets you avoid a lot of the
semantic loops that tie people in to things like career, and other fictional
ghosts that are generated by our society for the purpose of mass control.
It's a different frequency that you tune in to when you dance than the one
that's generally broadcast by TV shows, the media, politics.''

This new frequency, finally, is the frequency of the apocalypse.
Terence McKenna's 2012, the Mayan calendar, and the great, last rave of all
time are all part of one giant concrescence

"If we imagine ourselves in four-dimensional space-time,'' Heley
explains, "in that very dubious construct of Einsteinian space-time--we're
sort of swimming towards the object from which the frequency emanates.
It's like these are fragments of DNA information that are squeezed into a
certain specific time frame. It's a constant exploration and discovery of how
those resonate with our own DNA information in that particular moment of
time. Basically it's that fact--and the rich sampling of all the moments placed
within that context--that gives you this amazingly flexible framework for
reintegrating yourself into your body and also communicating as a group.
You're moving to a certain time-space and you're in a group state of
consciousness. You're at one with it and you become the moment.''

the new chemical accelerating his speech toward the
climax of his cosmic drama: "The human body has not been fully danced.
We don't dance our full dance yet. Time is accelerating towards this point in
the year 2012 when the story of the human race will have been unfolded.
We're reaching a bifurcation point. There's so much instability in our current
paradigm that it's just shaking apart. A lot of people I know feel we're
reaching an endgame. There's that feeling in the air. I feel myself being
dragged through different time zones and it's intense. When you surrender
to it, it becomes even stronger. Exponentially so. It's amazing.''

"Well, bliss is the most rigorous master you could imagine,''

"If your antenna is finely
tuned, you'll find it [Cyberia]. In a way, everyone is tuned in. One point in
humanity rises, all of humanity rises.''

A point of
reference can serve as the seed. But his field of vision is compressing and
expanding ... expanding as far out as the sun and even the galactic core. He
is riding through the precarious Mayan Tzolkin calendar. He closes his eyes
and fixes on the galactic core--on that time a year or so ago, tripping in a
field, in the sun.

The responsibilities of the technoshaman never end. Like the shamans
of ancient cultures, they must translate the wave forms of other dimensions
into the explicate reality for the purposes of forecasting the future and
charting a safe path through it.

Neopagan Technology

"The magic of today is the technology of tomorrow. It's all
magic. It's all technology.''

Like both their own ancestors and the most
current mathematicians and physicists, they have abandoned organized
rules of logic in favor of reality hacking--riding the waves, watching for
trends, keeping an open mind, and staying connected to the flow. It's not
important whether the natural system is a forest, an interdimensional plane,
a subway, or a computer network. For the neopagan, exploration itself is a
kind of understanding, and the process of exploring is the meaning of life.

Interdimensional Scrolling

Green Fire believes we are fast approaching a kind of spiritual dawn.
"There is more light now than ever before.

Green Fire is a seamless
blend between the magic of the ancients and the technology of the future.
"High technology and high magic are the same thing. They both use tools
from inner resources and outer resources. Magic from the ancient past and
technology from the future are really both one. That is how we are creating
the present; we're speeding up things, we are quickening our energies; time
and space are not as rigid as they used to be; the belief system isn't there.
Those who did control it have left the plane; they have been forced out
because it no longer is their time. Those of us who know how to work
through time and space are using our abilities to bend time and space into a
reality that will benefit people the most.''

"We humans are all shape-shifters,'' Green Fire comments, getting the
conversation back on track. "We just need to learn to access our DNA codes.
It's very computer-oriented. We are computers; our minds are computers;
our little cells are computers. We are bio-organic computers. We are
crystals. We are

As McKenna would say, thoughts are "beheld.'' As
Heley would say, "bliss is a rigorous master.''
"Whatever I think becomes real. Just to even get there I have to be
very clear. My emotions and my thoughts steer me. Really, instead of me
moving, the place moves. I think something, and then I'm kind of like,
there. So if I start feeling dark and weird, I find myself in the dark places of
that land. And there are dark places.''

"It's a discipline to keep your emotions in check--to keep certain
archetypical images in my mind. I have to keep them because they're
doorways, and if I don't have those doorways positioned correctly, they
could lead me to a place that I wouldn't want to be. It's like a puzzle or a
maze and I could get lost. Magic is a dangerous thing. There's a new age
belief that you can never get hurt; that's not true. You can get hurt very
bad. Not everybody should do magic. Even those of us who are made to do
it, we fuck up quite a bit. I fuck up quite a bit.'

Green Fire's journeys through the multidimensional "net'' are also
reflected in the way he conducts business through the communications net
on earth. Most of his income is generated through a national psychic phone
service, Ultraviolet Visions, which offers psychic readings, astrology, tarot
card analysis and other psychic services through a 900 number. The office in
which the psychics operate is decorated in what Earth Girl likes to call "New
Delphic Revival''--twenty-two stations around a big glass table with pillars,
each station corresponding to one of the twenty-two cards of the tarot's
major arcana. Of course, the billing is handled by computer through the
phone company.

Gardeners Ov Thee Abyss

The strength of any magic in Cyberia is directly proportional to that
magic's ability to permeate the network. Like cultural viruses, the techniques
of magic are thought to gain strength as they gain acceptance by larger
groups of people. Computer technology fits in to cyberian spirituality in two
ways: as a way to spread magic, and as a magic itself.

Kali is the name of a female sex goddess known as "the destroyer'';
the coyote is found in many mythologies, usually symbolizing wisdom and an
adventurous nature.

magic is just the realization and redirection of the will
toward conscious ends. To do this, people must disconnect from all sources
of information that attempt to program them into unconscious submission,
and replace them with information that opens them to their own magical and
technological abilities.
The Protocol of Empathy

to help people realize that this
society is in a crisis point. People have to wake up instead of sleeping in
front of the TV, which is a window on information which you don't even
realize is subliminal `cause the intentions aren't even known to all the
Kurt's tiny black-and-white television set has the word virus scrawled
across its screen in indelible marker, a constant reminder to all viewers that
the media is carrying potentially infectious subliminal ideas.
It's the programming that's dangerous. The television networks
create programs which program the reality of the viewer. Each viewer is
defined by nothing more than his programming.''
So, TOPY members replace regular, power-depleting television
programming with information of their own: magick.
"Majick is a map of the external reality.


"When computers talk, there's a basic handshake that happens
between two terminals. The computer is analogous to the human biosystem,
or a neural linguistic coalitive technological system.''

"Empathy is caused by frequencies being shared by people, and when
they interlock their frequencies, they cause a certain level of syncopation.
The closer that that level of syncopation is together, the closer that those
frequencies are locked in the higher level of communication that you're
experiencing. Interlocking can happen in what we now call protocol: the
terms that are agreed by the two users.''
We are thee gardeners ov thee abyss. Working to reclaim a
strangled paradise choked with unwilled weeds, subconscious
manifestations ov fear and self-hate. We embrace this fear
and our shadow to assimilate all that we think we are not.
Realigning ourselves on thee lattice ov power. Change is our
strength. We turn the soil to expose thee roots ov our
conditioned behavioral responses. Identifying and
dissimilating the thought structures that blind us ov our beauty
and imprison us from our power. We thrash these weeds beyond
recognition, beyond meaning, beyond existence to the
consistency of nothingness. Returning them to their origin,
thee abyss. Thee fertile void revealed is pure creative
inspiration. in coum-union, we impregnate thee abyss; thee
omninada; thee all nothingness, with thee seed ov creation.
Cultivating, through will and self-love, thee infinite beauty and
love that is Creation.

"Kali has
her fist up my ass up to her elbow and she loves every minute of it!''
As he puts the finishing touches on his masterpiece: "Fucking art

Cut and Paste: Artists in Cyberia
The Evolution of a Cyborg

Ambient Music is intended to induce calm and
space to think. Ambient Music must be able to accommodate many levels of
listening attention without enforcing one in particular; it must be as
ignorable as it is interesting.''

"One of the motives for being an artist,'' he relates from personal
experience, "is to recreate a condition where you're actually out of your
depth, where you're uncertain, no longer controlling yourself, yet you're
generating something, like surfing as opposed to digging a tunnel. Tunneldigging
activity is necessary, but what artists like, if they still like what
they're doing, is the surfing.'' The image of artist-as-surfer was born, soon
to be iterated throughout popular culture.

Eno speaks of "riding the dynamics of the system'' rather than
attempting to control things with rules and principles--good advice for those
who would dare venture into the dangerous surf of future waters, but even
more significant for his use of new mathematics terminology as a way of
describing the artistic endeavor.

His recording techniques become as much his guides as his tools, and
he "surfs'' his pieces toward completion, cutting, pasting, dubbing, and
overdubbing. His

His forecast for the future of his own
and the rest of popular music mirrors the evolution of the computer
subculture, which abandoned the clean lines of the Space Odyssey vision for
the gritty, urban realism of Bladerunner and, as we'll see, cyberpunk books
like Neuromancer.
His forecast for the future of his own
and the rest of popular music mirrors the evolution of the computer
subculture, which abandoned the clean lines of the Space Odyssey vision for
the gritty, urban realism of Bladerunner and, as we'll see, cyberpunk books
like Neuromancer. Eno says that the new music is "built up by overlaying
unrelated codes and bits and pieces of language, letting them collide to see
what new meanings and resonances emerge. It is music that throws you off
balance. It's not all tightly organized ... a network rather than a structure.''
Copyright © 2012 Alienpunk©.