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diff --git a/gsb_esalen.otx b/gsb_esalen.otx index 6080872..011b503 100644 --- a/gsb_esalen.otx +++ b/gsb_esalen.otx @@ -1,25 +1,25 @@ -\margins/2 a5 (1,0.65,0.65,1)in +\margins\slash 2 a5 (1,0.65,0.65,1)in \sdef{_pgs:fold}{(8.5,5.5)mm} \nonfrenchspacing \raggedbottom \fontfam[fbb] -\typosize[11/13] +\typosize[11\slash 13] \def\dq#1{“#1”} -\def\booktitle#1{{\it #1}\/} -\def\essaytitle#1{{\it\dq{#1}}\/} -\def\journaltitle#1{{\it #1}\/} -\def\term#1{{\it\dq{#1}}\/} -\def\e#1{{\it #1}\/} +\def\booktitle#1{{\it #1}\\slash } +\def\essaytitle#1{{\it\dq{#1}}\\slash } +\def\journaltitle#1{{\it #1}\\slash } +\def\term#1{{\it\dq{#1}}\\slash } +\def\e#1{{\it #1}\\slash } \long\def\Q#1{{\leftskip=1in\parindent=0pt #1\par}} \def\cbrk#1{\vskip 1em \hfil #1 \hfil\vskip 1em} \def\dinkus{\cbrk{* * *}} -\def\title#1{\cbrk{{\typosize[24/]#1}}} -\def\subtitle#1{{\hfil\noindent\typosize[9/]\it #1\nl}} +\def\title#1{\cbrk{{\typosize[24\slash ]#1}}} +\def\subtitle#1{{\hfil\noindent\typosize[9\slash ]\it #1\nl}} \def\ttl#1{\vbox{\vskip 1em{\tt #1}\vskip 0.5em\hrule\vskip 0.5em}\nobreak} -\def\textsuperscript#1{{\typosize[8/]$^{\textstyle\rm #1}$}} +\def\textsuperscript#1{{\typosize[8\slash ]$^{\textstyle\rm #1}$}} \def\spkr#1{{\tt #1:} \hangindent=1em} \long\def\transcript#1{{ \parindent=0pt\parskip=0.5em @@ -33,7 +33,7 @@ % --- design -\_def \_secfont {\_scalemain\_typoscale[1200/]\it} +\_def \_secfont {\_scalemain\_typoscale[1200\slash ]\it} \_def\_printsec#1{\_par \_abovetitle{\_penalty-151}\_bigskip @@ -42,7 +42,7 @@ \_firstnoindent } -\_def\_chapfont{\_scalemain\_typoscale[\_magstep3/\_magstep3]\it} +\_def\_chapfont{\_scalemain\_typoscale[\_magstep3\slash \_magstep3]\it} \_def\_printchap #1{\_vfill\_supereject \_prevdepth=0pt \_vglue\_medskipamount @@ -893,15 +893,15 @@ There was a mathematical lecturer, a professor at Cambridge in my college, Trini Now, the messages which they emit tend to go in the form of intentional groups, or something which is part action, and part stands as a name for the whole, in some sense. So their showing of a fang is a mentioning of battle. Not necessarily the beginning of a battle; possibly a challenge, possibly a mentioning with a question mark---I mean, "Are we here to fight each other?" -It's sort of in the hope, that I am here, that your \bt{Laws of Form} calculus might be the sense on which to map this sort of sound. We have a two-legged language which is very unsuitable for mapping what goes on between animals. Indeed, it is unsuitable for mapping what goes on between people. +It's sort of in the hope, that I am here, that your \booktitle{Laws of Form} calculus might be the sense on which to map this sort of sound. We have a two-legged language which is very unsuitable for mapping what goes on between animals. Indeed, it is unsuitable for mapping what goes on between people. \transcript{\spkr{SPENCER BROWN} Before I answer that, I should have to explain that Prof. Bateson has written most lucidly on this theme, particularly in a little metalog, in the form of a duolog, isn't it, between a father and his daughter. \spkr{BATESON} It's merely a dialog, yes. -\spkr{SPENCER BROWN} ---about instinct and about the language of animals compared with the language of us. This is, I believe, now published, and the title is \bt{Steps to an Ecology of Mind.}} +\spkr{SPENCER BROWN} ---about instinct and about the language of animals compared with the language of us. This is, I believe, now published, and the title is \booktitle{Steps to an Ecology of Mind.}} -There is this delightful little duolog in that book. When I first read it, some years ago in London, I found it contained very profound observations on communication and---excluding, really, in terms of animals like whales and dolphins which do seem to have a form of communication, which, if you could divine it---I hope I am right, John---is at least as efficient as ours and probably something like it and maybe better. I think that this causes something---possibly the same problems that they have. Although they may have something superior to \bt{Laws of Form}, in fact, having got something that is more important, or more fundamental, than not. \bt{Laws of} Form comes effectively from the licensing of the not operator in logic. What is of interest in Gregory Bateson's account of the animals is that they don't so much communicate as commune with us and with each other. And I would like to make this distinction. +There is this delightful little duolog in that book. When I first read it, some years ago in London, I found it contained very profound observations on communication and---excluding, really, in terms of animals like whales and dolphins which do seem to have a form of communication, which, if you could divine it---I hope I am right, John---is at least as efficient as ours and probably something like it and maybe better. I think that this causes something---possibly the same problems that they have. Although they may have something superior to \booktitle{Laws of Form}, in fact, having got something that is more important, or more fundamental, than not. \bt{Laws of} Form comes effectively from the licensing of the not operator in logic. What is of interest in Gregory Bateson's account of the animals is that they don't so much communicate as commune with us and with each other. And I would like to make this distinction. \sec Communication and Communion @@ -911,7 +911,7 @@ Now, it is my thesis that communication is superficial to communion, and without \dinkus -The more perfect the fit on the communion level, the less needs to be communicated, the more that can be crossed from one being to another in fewer actual communicated acts. In \bt{Laws of Form}, this is expressed in these two laws---or at least there are pictures of it in the two laws early on, in the canon of contraction of reference,\fnote{pp. 8, \bt{Laws of Form}: "In general, let injunctions be contracted to any degree to which they are followed." The other canon referred to may be \bt{The Hypothesis of Simplification} (pp. 9): "Suppose the value of an arrangement to be the value of a simple expression, to which, by taking steps, it can be changed."} whereby, as people get to know each other better---a gang of kids go about and one word or even half a word is used to express a whole community between them. Whereas when people do not know each other, this has to be expressed in a whole book. But between people who do know one another, however, there is no need for a book, it can all go in half a syllable. +The more perfect the fit on the communion level, the less needs to be communicated, the more that can be crossed from one being to another in fewer actual communicated acts. In \booktitle{Laws of Form}, this is expressed in these two laws---or at least there are pictures of it in the two laws early on, in the canon of contraction of reference,\fnote{pp. 8, \bt{Laws of Form}: "In general, let injunctions be contracted to any degree to which they are followed." The other canon referred to may be \bt{The Hypothesis of Simplification} (pp. 9): "Suppose the value of an arrangement to be the value of a simple expression, to which, by taking steps, it can be changed."} whereby, as people get to know each other better---a gang of kids go about and one word or even half a word is used to express a whole community between them. Whereas when people do not know each other, this has to be expressed in a whole book. But between people who do know one another, however, there is no need for a book, it can all go in half a syllable. Now when one is communicating, for example, with one's cat, that doesn't have the sort of language we have, or if it does, we don't know it, then it is done in this kind of way. It is done because you know each other. And when my cat says "Meouw," I sometimes say, "What do you mean, `meouw!'" But this is a game, because if I consider it, there is never a time when my cat says "Meouw" that I don't know exactly what he means. Why I sometimes say, "What do you mean, `meouw'?" is because I can't be bothered to get up and give it the fish or open the door or pet it. If I am honest with myself, there is never any doubt whatever. Although it says "Meouw" it makes it quite plain to me, by the context in which it says it, exactly what it means. And if I pretend that I don't understand, it knows perfectly well that I am being awkward. @@ -945,11 +945,11 @@ Or one could even go further to the well-known joke of the king who wanted to be Having finished the recipe---the king was writing it down---he was just about to be taken off to where he would have his head cut off if the thing doesn't work. And just as he is about to be taken off, he says "One moment, your Majesty, one moment. There are just two more instructions that are necessary to this recipe. One is that it must be done by your Majesty himself---you may not delegate. And one more thing, your Majesty, one more thing, you must not think of a hippopotamus while you are doing this." -He kept his head. We are least adapted to "not." "Not" is the worst order to give anybody, the most confusing order, and the most unlikely to be carried out properly. I do think that, apart from possible animals who have a language as evolved as ours, I do think that it does make for a very different wag of seeing the world; or, to put it more accurately, it does make for a very different world. The world waxes or wanes as a whole. The world of the happy is totally different from the world of the unhappy.\fnote{See Note 2, pp. 133, \bt{Only Two Can Flay This Game}.} +He kept his head. We are least adapted to "not." "Not" is the worst order to give anybody, the most confusing order, and the most unlikely to be carried out properly. I do think that, apart from possible animals who have a language as evolved as ours, I do think that it does make for a very different wag of seeing the world; or, to put it more accurately, it does make for a very different world. The world waxes or wanes as a whole. The world of the happy is totally different from the world of the unhappy.\fnote{See Note 2, pp. 133, \booktitle{Only Two Can Flay This Game}.} \sec Manifesting the Form -So one can either say, "there are various ways of seeing the world," or one could say, "There are various worlds," which means the same thing. How could there be a difference between these two. As soon as we have \e{not}, we have a kind of world that no animal without \e{not} ever sees. And since, in \bt{Laws of Form}, the laws of form can be described as coming from granting a license to \e{not}, it is, therefore, this universe of the \e{not}-speaking animal that this particular form is about. The form itself manifests in as many ways as there are ways of distinction. As in the \bt{Tao Te Ching}, we start with the first proposition, "The way, as told in this book, is not the eternal way, which may not be told." The eternal way may not be told\fnote{The root of \e{tell} is Indo-European \e{del-}, to count, Recount, (compute).} because it is not susceptible to telling. It is too real for that. It manifests in as many different ways or different expressions as there are differences in the beings to which it manifests. So that---I speak of "The form," that is never the form that is spoken. The form which is spoken is the form as it is manifest to us, as the particular beings we are, with our particular \e{not} culture, our particular not language, and our particular conventions of life. +So one can either say, "there are various ways of seeing the world," or one could say, "There are various worlds," which means the same thing. How could there be a difference between these two. As soon as we have \e{not}, we have a kind of world that no animal without \e{not} ever sees. And since, in \booktitle{Laws of Form}, the laws of form can be described as coming from granting a license to \e{not}, it is, therefore, this universe of the \e{not}-speaking animal that this particular form is about. The form itself manifests in as many ways as there are ways of distinction. As in the \bt{Tao Te Ching}, we start with the first proposition, "The way, as told in this book, is not the eternal way, which may not be told." The eternal way may not be told\fnote{The root of \e{tell} is Indo-European \e{del-}, to count, Recount, (compute).} because it is not susceptible to telling. It is too real for that. It manifests in as many different ways or different expressions as there are differences in the beings to which it manifests. So that---I speak of "The form," that is never the form that is spoken. The form which is spoken is the form as it is manifest to us, as the particular beings we are, with our particular \e{not} culture, our particular not language, and our particular conventions of life. And when one looks at a cow in a field and somebody says "What's it doing?" well, I say, "Well, I thank it is contemplating reality." And they say "Don't be ridiculous, how can a cow contemplate reality? "Why not?" I say. "What else does it have to do all day? What else has it to do?" The thing is contemplating reality, what else could it be doing? But the form as it is apparent to a cow---although it is the same form, it is the Way without a Name---how it manifests to a cow is not how it manifests to me. How it is expressed to a cow is not how it is expressed to me. @@ -977,7 +977,7 @@ Now to recapitulate, how of course can there be any space, where would there be \sec Being and Existence -\transcript{\spkr{SPENCER BROWN} Well, one must distinguish between being and-existence, being being deeper than existence. existence is less important than being. However, even being is not the most important. As to existence, well, there is a whole world that be, which don't even exist, and the world that don't exist is far more real than the world that do.\fnote{"\ld to experience the world clearly, we must abandon existence to truth, truth to indication, indication to form, and form to void." pp. 101, \bt{Laws of Form}. See also discussion of five eternal levels, below, p.102.}} +\transcript{\spkr{SPENCER BROWN} Well, one must distinguish between being and-existence, being being deeper than existence. existence is less important than being. However, even being is not the most important. As to existence, well, there is a whole world that be, which don't even exist, and the world that don't exist is far more real than the world that do.\fnote{"\ld to experience the world clearly, we must abandon existence to truth, truth to indication, indication to form, and form to void." pp. 101, \booktitle{Laws of Form}. See also discussion of five eternal levels, below, p.102.}} We have an astronomer who talks on the television, and he answers questions---he gives a monthly program and then he also reads his letters. And the letters are usually, "Well, what happens in the center of the sun?" Or "Is the Andromeda nebula a spiral? What colors come out of it?" and so on and so forth. And he was answering the questions in one program and the final question was from a lady who asked on a postcard, asked a short question: "What I would like to know is none of these specific questions-what I would like to know is, why the universe exists at all? And he put on his most Satanic expression, and just before the fade out he replied, \e{`Does it?'}" @@ -985,7 +985,7 @@ We have an astronomer who talks on the television, and he answers questions---he \transcript{\spkr{WATTS} Would you reflect briefly on the word "not" in the context "Whatever is not expressly permitted is forbidden"? -\spkr{SPENCER BROWN} You mean, "What is not allowed is forbidden"?\fnote{First canon, Convention of Intention; pp. 3, \bt{Laws of Form}.} +\spkr{SPENCER BROWN} You mean, "What is not allowed is forbidden"?\fnote{First canon, Convention of Intention; pp. 3, \booktitle{Laws of Form}.} \spkr{WATTS} Yes. @@ -1015,7 +1015,7 @@ The reason we don't realize in ordinary speech or ordinary communications that t \spkr{WOMAN} Does this cover right or wrong? -\spkr{SPENCER BROWN} No, this is mathematical. We are not anywhere near right or wrong, you see. The mathematician who is used to the fact that we have, in fact---well, it began with the covert convention, that became overt, that we are only allowed, in defining operator, to define it as operating on two variables. That's what gets us into such trouble, you know. The Sheffer stroke, for example, it is not allowed on more than two and it is not allowed on less than two. So "not A," with a Sheffer stroke, must be done "A stroke A" In fact, if you will read the first few chapters of \bt{Laws of Form}, we specifically allow the operation on more than one variable. Since we have allowed it, we may do it. And it is not relevant to refer to the forbidding of it in other calculi.} +\spkr{SPENCER BROWN} No, this is mathematical. We are not anywhere near right or wrong, you see. The mathematician who is used to the fact that we have, in fact---well, it began with the covert convention, that became overt, that we are only allowed, in defining operator, to define it as operating on two variables. That's what gets us into such trouble, you know. The Sheffer stroke, for example, it is not allowed on more than two and it is not allowed on less than two. So "not A," with a Sheffer stroke, must be done "A stroke A" In fact, if you will read the first few chapters of \booktitle{Laws of Form}, we specifically allow the operation on more than one variable. Since we have allowed it, we may do it. And it is not relevant to refer to the forbidding of it in other calculi.} This is the difficulty of reading mathematics, one has to be able to read just what it says, because there is nothing in it that one may assume, apart from the knowledge of the language used and how to count\ld these are the only things taken as common. @@ -1025,7 +1025,7 @@ Transcript Session Four: Tuesday Afternoon Morning, March 19, 1973 \sec Last Requests -\transcript{\spkr{SPENCER BROWN} Well, on this last occasion I have received many requests to speak about different things, so perhaps I should deal with the requests in order. The first request is for some guidance on how I use the principles in the book Laws of Form in everyday life. And, since one of the principles which is exemplified in \bt{Laws of Form} is that you don't tell how it is that you use the principles in \bt{Laws of Form} in everyday life, I cannot comply with this request.} +\transcript{\spkr{SPENCER BROWN} Well, on this last occasion I have received many requests to speak about different things, so perhaps I should deal with the requests in order. The first request is for some guidance on how I use the principles in the book Laws of Form in everyday life. And, since one of the principles which is exemplified in \booktitle{Laws of Form} is that you don't tell how it is that you use the principles in \bt{Laws of Form} in everyday life, I cannot comply with this request.} I have had another request to talk about the relationship, or distinction, call it what you will, between \e{male} and \e{female.} I guess you are asking the wrong director of the company that I represent. It is my fellow-director who is always going off on courses about how to get along with the opposite sex; while I have to stay home and actually do the work. So I get so little time---I have so little experience of either sex that I don't feel that I am qualified to say anything, apart from the fact that, even if I could say something, the subject is so big that it would seem a pity to start it on what must be the good-bye occasion. I can only say, that the more I have to deal with the opposite sex, the less I think I know about either myself or themselves, or vice versa. @@ -1037,7 +1037,7 @@ I do feel there's little left now for me to fiag except to thank you all very mu \sec Five Eternal Levels \& the Generation of Time -Footnote One in \bt{Only Two Can Play This Game.} You say\fnote{Page 116.} "To cut a long story short, it turns out that there are five orders, or `levels' of eternity." Would you diagram those for me? +Footnote One in \booktitle{Only Two Can Play This Game.} You say\fnote{Page 116.} "To cut a long story short, it turns out that there are five orders, or `levels' of eternity." Would you diagram those for me? \transcript{\spkr{SPENCER BROWN} Diagram them? @@ -1055,7 +1055,7 @@ Footnote One in \bt{Only Two Can Play This Game.} You say\fnote{Page 116.} "To c \spkr{LILLY} Where's "flippety"? -\spkr{SPENCER BROWN} Well, it corresponds in \bt{Laws of Form} to the void, the form, the axioms which see the form. You have to get this number right, you see; because it is the number that Dionysius counts on his orders of angels, but he doesn't always arrive at the same answer.} +\spkr{SPENCER BROWN} Well, it corresponds in \booktitle{Laws of Form} to the void, the form, the axioms which see the form. You have to get this number right, you see; because it is the number that Dionysius counts on his orders of angels, but he doesn't always arrive at the same answer.} \dinkus @@ -1079,7 +1079,7 @@ Then you get the arithmetic, which is seeing what becomes of the axioms. And the \sec Waves and Particles -\transcript{\spkr{SPENCER BROWN} In the construction of matter, all that happens is that we create the temporal and the material together by imagining that the outside feeds back into the inside. We then have a succession like this of marked and unmarked states generated by this.\fnote{See p. 60, \bt{Laws of Form} (Fig. 1 and Oscillator Function).} As long as the tunnel is there, this goes on, and when the tunnel disappears, this is of a particular length, a wave train. But, if this \aside{Fig. 2} were to go past, similarly, this would also appear as a wave train, and yet, as it is, it is---it could be an electron. If there is only one electron left---you know, all the rest were done away with---it would be quite sufficient to recreate everything. So long as there were one bit of space left, it would be quite sufficient. All would grow out of it. If there were nothing left at all, it would be quite sufficient.} +\transcript{\spkr{SPENCER BROWN} In the construction of matter, all that happens is that we create the temporal and the material together by imagining that the outside feeds back into the inside. We then have a succession like this of marked and unmarked states generated by this.\fnote{See p. 60, \booktitle{Laws of Form} (Fig. 1 and Oscillator Function).} As long as the tunnel is there, this goes on, and when the tunnel disappears, this is of a particular length, a wave train. But, if this \aside{Fig. 2} were to go past, similarly, this would also appear as a wave train, and yet, as it is, it is---it could be an electron. If there is only one electron left---you know, all the rest were done away with---it would be quite sufficient to recreate everything. So long as there were one bit of space left, it would be quite sufficient. All would grow out of it. If there were nothing left at all, it would be quite sufficient.} \sec \dq{If It Is. It Isn't.} @@ -1123,7 +1123,7 @@ We have so many social values that spill over into our university training, even \spkr{SPENCER BROWN} Well, I don't know what that means.} -I am going to come back to one of the beautiful things of Roth, you see. As I called it in \bt{Only Two}, the spectacular introduction to Dionysius the Areopagite. It really is spectacular. I do recommend it. It is much better than Dionysius. It is much better than the book. He originally has this marvelous thing which we were talking about earlier---"and all this went on in perfect harmony until the time came, for time to begin." Utterly contradictory, but, you know, it's the only way to talk of this, because we have to talk in language which---language, you see, is built for a level. That's why when you learn a language, you know, you are confronted with such fatuities as "The pen of my aunt is in the posterior, whereas my---";\ednote{huh?} you know that sort of thing. It's all on this level because this is what makes it respectable. Language is not something designed for shifting gears up and down the levels. +I am going to come back to one of the beautiful things of Roth, you see. As I called it in \booktitle{Only Two}, the spectacular introduction to Dionysius the Areopagite. It really is spectacular. I do recommend it. It is much better than Dionysius. It is much better than the book. He originally has this marvelous thing which we were talking about earlier---"and all this went on in perfect harmony until the time came, for time to begin." Utterly contradictory, but, you know, it's the only way to talk of this, because we have to talk in language which---language, you see, is built for a level. That's why when you learn a language, you know, you are confronted with such fatuities as "The pen of my aunt is in the posterior, whereas my---";\ednote{huh?} you know that sort of thing. It's all on this level because this is what makes it respectable. Language is not something designed for shifting gears up and down the levels. \sec Injunctive Language @@ -1159,7 +1159,7 @@ Injunctive language has to be used in any field in which the discipline itself i \transcript{\spkr{SPENCER BROWN} Yes, people without the injunctive discipline in mathematics, apart from cookery and things that aren't generally admitted into the academic curriculum---mathematics is the only subject of any importance in the academic curriculum which uses injunctive language. And it is not chance that it is the only subject which doesn't deal in opinion. Because, in the use of injunction, it is not a matter of opinion what the result is going to be, you know.} -And it's when we get very---these people who have been very sloppily educated; and they have, as we did back in England recently, a program on the television and they were all social scientists, and they said "Well, we have a measure of madness, and it is to know something." If you know it, you are mad, you see. If you only think it, well, that's sane. The great ignorance these people displayed, you see, is the ignorance of the queen of the sciences, as mathematics is often called. For example, let's take this book I was mentioning before, which is such a beautiful book in three volumes---Dickson's \bt{History of the Theory of Numbers}. Oh, I don't know---there is 1500 to 2000 pages\fnote{1601 in 3 vols; 486, 802, 313.} absolutely crammed full---not a single opinion---it's all knowledge---it is all what is so. The gross ignorance expressed by these people, you see. This dealing in opinion can only be done by the ignoring of the disciplines of knowledge. Because, if it is an opinion, then it must be wrong-because if it were not so, if it were not wrong, then it would be knowledge, and it wouldn't be an opinion. So when---you know, when somebody comes and says "I think so"---well, that's an opinion. If you knew it, you wouldn't think it. +And it's when we get very---these people who have been very sloppily educated; and they have, as we did back in England recently, a program on the television and they were all social scientists, and they said "Well, we have a measure of madness, and it is to know something." If you know it, you are mad, you see. If you only think it, well, that's sane. The great ignorance these people displayed, you see, is the ignorance of the queen of the sciences, as mathematics is often called. For example, let's take this book I was mentioning before, which is such a beautiful book in three volumes---Dickson's \booktitle{History of the Theory of Numbers}. Oh, I don't know---there is 1500 to 2000 pages\fnote{1601 in 3 vols; 486, 802, 313.} absolutely crammed full---not a single opinion---it's all knowledge---it is all what is so. The gross ignorance expressed by these people, you see. This dealing in opinion can only be done by the ignoring of the disciplines of knowledge. Because, if it is an opinion, then it must be wrong-because if it were not so, if it were not wrong, then it would be knowledge, and it wouldn't be an opinion. So when---you know, when somebody comes and says "I think so"---well, that's an opinion. If you knew it, you wouldn't think it. As for the other trick which is played, which is---"you know, you don't know anything, you see, you don't know a thing, you know." You say, "oh yes, I know what I had for breakfast." "Oh no, you may have forgotten, you may have made a mistake." The proposition that such people produce is that anything---Russell, himself, was one of these. You know, he said "I don't even know that two and two make four. You see, I may have been mistaken---" It is put more cogently than I could put it, my heart isn't in it. He was laboring a point because it was necessary for his subsequent statement that he should establish this, you see. So the theory---"you don't know---you know nothing at all---it's all a matter of opinion"---and, well, the question I always ask such people is "how do you know this? How do you know that nobody knows anything? How do you know it is only a matter of opinion?" @@ -1175,9 +1175,9 @@ As for the other trick which is played, which is---"you know, you don't know any \spkr{SPENCER BROWN} No. -\spkr{O'REGAN} Some of your analysis of contradiction, and whole notion of crossing over from marked to the unmarked would almost suggest that contradiction, in a sense, is the form of form. It is what we can see when one arrives at that stage. Maybe the book could be the "Laws of Contradictions" just as much as the \bt{Laws of Form.} +\spkr{O'REGAN} Some of your analysis of contradiction, and whole notion of crossing over from marked to the unmarked would almost suggest that contradiction, in a sense, is the form of form. It is what we can see when one arrives at that stage. Maybe the book could be the "Laws of Contradictions" just as much as the \booktitle{Laws of Form.} -\spkr{SPENCER BROWN} Well, I am always careful about putting something greater into a smaller pot. Yous see, whenever we are speaking of contradiction, it is at such a more superficial level, because we are now already in language, and so on. Whereas in \bt{Laws of Form} the form is operative at every level. Whereas contradiction is only operative in something like our speaking. That's why, you know, although it's illustrative, it wouldn't do as a substitute. +\spkr{SPENCER BROWN} Well, I am always careful about putting something greater into a smaller pot. Yous see, whenever we are speaking of contradiction, it is at such a more superficial level, because we are now already in language, and so on. Whereas in \booktitle{Laws of Form} the form is operative at every level. Whereas contradiction is only operative in something like our speaking. That's why, you know, although it's illustrative, it wouldn't do as a substitute. \spkr{LILLY} In the act of creation, using a self-referential tunnel feedback, can you move from inward to outward on your five levels, or your orders here, or is this just restricted to the first distinction? @@ -1215,7 +1215,7 @@ As for the other trick which is played, which is---"you know, you don't know any \spkr{LILLY}: This is outside them. -\spkr{SPENCER BROWN} Yes, the fifth order---you know, there is evidence all over the universe of a special state where you come to the fifth degree or the fifth whatever it may be, and bang, it changes.\fnote{Humpty Dumpty had his great fall, from which he could not be put together again, on the fifth crossing. \bt{Through the Looking-Glass} is instructive in following the discussion of the levels of the cosmos. Alice starts on the zero square, and takes her first step through the mirror (Monkey dives through waterfall) landing on Q2---the second square, cardinal number one, in the marked state behind the glass.} It was all self-contained before that. This is a technical point mathematically in the question of solving equations for the varying degrees. You can solve degree one, this is ordinary numerical algebra. We can solve degree two. There is a formula, an algebraic formula, which most of us learn in school, for doing that. And by an extension of that we can solve degree four, also by an algebraic formula. I missed out three---we can do that, you see, and then the further extension of four. And everybody thought for quite a long time, I don't know just exactly when it was, not so long ago, that if only we could find this, we could find the formula for degree five equations---find the roots, and so on. In fact, we can't, because, without going into detail, something has been---something overtakes something else. Instead of your being able to reduce it to the equations of a lesser degree, you suddenly find that your reduction uses degrees that are higher degrees than you have already started with. +\spkr{SPENCER BROWN} Yes, the fifth order---you know, there is evidence all over the universe of a special state where you come to the fifth degree or the fifth whatever it may be, and bang, it changes.\fnote{Humpty Dumpty had his great fall, from which he could not be put together again, on the fifth crossing. \booktitle{Through the Looking-Glass} is instructive in following the discussion of the levels of the cosmos. Alice starts on the zero square, and takes her first step through the mirror (Monkey dives through waterfall) landing on Q2---the second square, cardinal number one, in the marked state behind the glass.} It was all self-contained before that. This is a technical point mathematically in the question of solving equations for the varying degrees. You can solve degree one, this is ordinary numerical algebra. We can solve degree two. There is a formula, an algebraic formula, which most of us learn in school, for doing that. And by an extension of that we can solve degree four, also by an algebraic formula. I missed out three---we can do that, you see, and then the further extension of four. And everybody thought for quite a long time, I don't know just exactly when it was, not so long ago, that if only we could find this, we could find the formula for degree five equations---find the roots, and so on. In fact, we can't, because, without going into detail, something has been---something overtakes something else. Instead of your being able to reduce it to the equations of a lesser degree, you suddenly find that your reduction uses degrees that are higher degrees than you have already started with. \spkr{LILLY} It's an expanding system. @@ -1244,58 +1244,72 @@ As for the other trick which is played, which is---"you know, you don't know any \endnote{(End of Session Four.)} \endnote{(End of tape.)} -\chap Book Proposal: The OMasters +\chap Book Proposal: \booktitle{The OMasters} - By Cliff Barney and Kurt von Meier +\rightline{By Cliff Barney and Kurt von Meier} + +\booktitle{The OMasters} is an imaginary adventure framing real events: the sudden appearance of a teacher or teaching that tokens the radical reformulation of a prevailing world view. The fantasy story is about a group of children from the present generation with an extraordinary capacity for embracing paradoxes---logical and psychological---who enter higher orders of complexity motivated primarily by aesthetic delight. -The OMasters is an imaginary adventure framing real events: the sudden appearance of a teacher or teaching that tokens the radical reformulation of a prevailing world view. The fantasy story is about a group of children from the present generation with an extraordinary capacity for embracing paradoxes--logical and psychological--who enter higher orders of complexity motivated primarily by aesthetic delight. +\booktitle{The OMasters}, sublime though innocent generalists, contemplate sophisticated processes while we are still computing products. A precocious and powerful inner circle of the group, known as The Lords of Form, move about the world in disguise developing intellectual foundations for \e{NOVACULT} from imaginary holograms generated by interference patterns between pure mathematics and Tibetan Vajrayana Buddhism, whale songs and Hopi Kachina dances. As refined by the Lords of Form, the "Flippety" principle of Distinguish\slash Embrace is put into practice by \bt{The OMasters}, producing technological advances such as the Optical Process Bio-Interface Computer, the Adamantine Bit, and a new critical apparatus for literature and the arts. -The OMasters, sublime though innocent generalists, contemplate sophisticated processes while we are still computing products. A precocious and powerful inner circle of the group, known as The Lords of Form, move about the world in disguise developing intellectual foundations for NOVACULT from imaginary holograms generated by interference patterns between pure mathematics and Tibetan Vajrayana Buddhism, whale songs and Hopi Kachina dances. As refined by the Lords of Form, the "Flippety" principle of Distinguish/Embrace is put into practice by The OMasters, producing technological advances such as the Optical Process Bio-Interface Computer, the Adamantine Bit, and a new critical apparatus for literature and the arts. -Principal historical hero for The OMasters is G. Spencer Brown, a "mythematician," also sportsman, inventor, poet and former philosophy don. He appears at a conference of psychocosmic scientists, scholars and artists (attended clandestinely by one of the Lords of Form), where he offers a discourse on "laws of form"--a highly conceptualized vision of the Void--explaining what these laws are and how they are generated. A paradigm of how we may imagine them to appear is already published: an ultra-condensed textbook called Laws of Form (Julian Press, New York, 1972). It is a calculus of indications in which the use of imaginary values provides a new theoretical basis for electronic switching, Boolean algebra and all binary systems, and so too for more complex orders of number and measure. +Principal historical hero for \booktitle{The OMasters is G. Spencer Brown}, a "mythematician," also sportsman, inventor, poet and former philosophy don. He appears at a conference of psychocosmic scientists, scholars and artists (attended clandestinely by one of the Lords of Form), where he offers a discourse on "laws of form"---a highly conceptualized vision of the Void---explaining what these laws are and how they are generated. A paradigm of how we may imagine them to appear is already published: an ultra-condensed textbook called \bt{Laws of Form} (Julian Press, New York, 1972). It is a calculus of indications in which the use of imaginary values provides a new theoretical basis for electronic switching, Boolean algebra and all binary systems, and so too for more complex orders of number and measure. -As read by The OMasters, Laws of Form is a major poem on the order of the Divine Comedy, in that each contains a vision of what has been called "Eternity." Both poets describe what remains constant in a universe of change: Dante's epic recounts the journey inward, toward a mystical union with God, while Brown's system indicates the Void at the center, and as in Buddhist sutras works outward through the use of injunctive language, generating archetypal patterns from the basic act of distinction. "Angels" in the Commedia become "consequences" in the calculus, which relationship Brown makes explicit. The two texts are reports on a vision not merely private but common to all sentient beings, and capable of being understood in the same way by all humanity. +As read by \booktitle{The OMasters}, \bt{Laws of Form} is a major poem on the order of the \bt{Divine Comedy}, in that each contains a vision of what has been called "Eternity." Both poets describe what remains constant in a universe of change: Dante's epic recounts the journey inward, toward a mystical union with God, while Brown's system indicates the Void at the center, and as in Buddhist sutras works outward through the use of injunctive language, generating archetypal patterns from the basic act of distinction. "Angels" in the \bt{Commedia} become "consequences" in the calculus, which relationship Brown makes explicit. The two texts are reports on a vision not merely private but common to all sentient beings, and capable of being understood in the same way by all humanity. -The "Eternal" realm has been described by all major religions, documented in the West by Jung, among others, and experienced through inspiration, meditation, and psychedelics. The Laws of Form show how it is that all these visions are technically and formally the same. The OMasters use Brown's teaching to define a basic ground for thoir associative metaconsciousness version of the Glass Bead Game. +The "Eternal" realm has been described by all major religions, documented in the West by Jung, among others, and experienced through inspiration, meditation, and psychedelics. The Laws of Form show how it is that all these visions are technically and formally the same. \booktitle{The OMasters} use Brown's teaching to define a basic ground for thoir associative metaconsciousness version of the Glass Bead Game. -With the Lords of Form as vanguard, The OMasters acquire and analyse a transcript of Brown's excurses on the text. As though it were a golden fleece, they spin from the transcript their thread of associations, which are woven into a Sufi story/science fantasy illustrating the discourse and commenting on it. Brown's avatar appears as an intergalactic voyager who assists in deciphering the diamond-hard message, providing the keys for step-down transformations from the abstract calculus to everyday life situations, and for step-up transformations to interspecies and outer space communication. +With the Lords of Form as vanguard, \booktitle{The OMasters} acquire and analyse a transcript of Brown's excurses on the text. As though it were a golden fleece, they spin from the transcript their thread of associations, which are woven into a Sufi story\slash science fantasy illustrating the discourse and commenting on it. Brown's avatar appears as an intergalactic voyager who assists in deciphering the diamond-hard message, providing the keys for step-down transformations from the abstract calculus to everyday life situations, and for step-up transformations to interspecies and outer space communication. -The frame story unfolds as three interlacing accounts of The 0Masters in action, featuring Primo the Fool, Woody Nicholson, and Shakuhachi Unzen, in respectively a space opera, a celebration of the myth of America, and an East-West fantasy farce. Historical, technical and utterly fictive events are arranged as mirrors [n a fun house to catch the play of real and imaginary values. Through the warp of science and scholarship we shuttle the thread of fantastic delight. +The frame story unfolds as three interlacing accounts of \booktitle{The OMasters} in action, featuring Primo the Fool, Woody Nicholson, and Shakuhachi Unzen, in respectively a space opera, a celebration of the myth of America, and an East-West fantasy farce. Historical, technical and utterly fictive events are arranged as mirrors in a fun house to catch the play of real and imaginary values. \e{Through the warp of science and scholarship we shuttle the thread of fantastic delight.} -Primo has all the correct maps--Laws of Form, the I Ching, a Tarot deck, Robert's Rules of Order--but he doesn't know how to read them. They lie on the Crystal Navigation Table of the Gravity/Gracewarpship. Adamantinus, whose captain has vanished, leaving the controls on a course set for the Black Hole in Cygnus. From the confused advice and theoretical formulations offered by the desperado experts of his cosmic crew, he selects a true course through the warp, guided by contemplating the Yellow Pearl, an incarnation of the Queen of Heaven herself. +Primo has all the correct maps---\booktitle{Laws of Form}, the \bt{I Ching}, a Tarot deck, Robert's \bt{Rules of Order}---but he doesn't know how to read them. They lie on the Crystal Navigation Table of the Gravity\slash Gracewarpship. \e{Adamantinus}, whose captain has vanished, leaving the controls on a course set for the Black Hole in Cygnus. From the confused advice and theoretical formulations offered by the desperado experts of his cosmic crew, he selects a true course through the warp, guided by contemplating the Yellow Pearl, an incarnation of the Queen of Heaven herself. -As Woodrow Nicholson, our hero appears at the head of his party in '76, by which time we have a whole string of backup Vice Presidents. Woody is the 22d, kept roving (for security) in the last of tho Winnebagoes on a circuit of national parks and supermarket parking lots. However, he is impelled to pick up the standard when his precedents are all wiped out in a wicked game of "21" by Ahab McGaff, proprietor of the Double Cross ( ~ ) Saloon in 'Vegas, and international purveyor of contraband whalemeat. Supported by the Sufia, Woody openly challenges Ahab, who is also the secret head of MaFie, the spiritual materialist monopoly. Following the tradition of the Eisteddfodd in Wales, Woody schedules a special competition to replace elections: the Grand Noshinals, to be held on the Fourth of July --with the winning recipe from the eat-offs to determine the identity of the Vajrayogini, our first woman president. Ahab tries simultaneously to fix the Eisteddfodd and, through his show business connections, to produce it for global television. +As Woodrow Nicholson, our hero appears at the head of his party in '76, by which time we have a whole string of backup Vice Presidents. Woody is the 22\textsuperscript{nd}, kept roving (for security) in the last of tho Winnebagoes on a circuit of national parks and supermarket parking lots. However, he is impelled to pick up the standard when his precedents are all wiped out in a wicked game of "21" by Ahab McGaff, proprietor of the Double Cross (\aside{TBA}) Saloon in 'Vegas, and international purveyor of contraband whalemeat. Supported by the Sufia, Woody openly challenges Ahab, who is also the secret head of MaFie, the spiritual materialist monopoly. Following the tradition of the Eisteddfodd in Wales, Woody schedules a special competition to replace elections: the Grand Noshinals, to be held on the Fourth of July---with the winning recipe from the eat-offs to determine the identity of the Vajrayogini, our first woman president. Ahab tries simultaneously to fix the Eisteddfodd and, through his show business connections, to produce it for global television. -Shakuhachi Unzen is dishwasher and garbageman at the Teahouse of Necessity, where late each night he serves an installment of the Feast of 4001 Fools. Despite his clownish circumstances, Shakuhachi operates in the ancient tradition of Ninja, martial arts masters of invisibility. In compiling a cookbook of spontaneous concoctions, he discovers a magic recipe which induces the illusion of instant enlightenment--but he must await the appropriate recipient before the real transmission can be completed. +Shakuhachi Unzen is dishwasher and garbageman at the Teahouse of Necessity, where late each night he serves an installment of the Feast of 4001 Fools. Despite his clownish circumstances, Shakuhachi operates in the ancient tradition of Ninja, martial arts masters of invisibility. In compiling a cookbook of spontaneous concoctions, he discovers a magic recipe which induces the illusion of instant enlightenment---but he must await the appropriate recipient before the real transmission can be completed. -Our book is in the tradition of Alice's Adventures--an imaginary, someways serious consideration of logic and paradox. There really was a conference, organized by John C. Lilly, M. D., and the late Alan Watts, and attended by the present authors, at Esalen Institute, Big Sur, Calif.; G. Spencer Brown did appear there and discuss his calculus and the Laws of Form generally. Complementing actual events, the stories provide a vehicle for our own commentary on the Laws of Form, and frame contributions from Brown and other participants in the conference. We also provide a bibliography of the reference net with which we hunt the white whale of imagination, Moby Blick. Such a paradigmatic approach to information systems offers refreshing possibilities for scholarship: a positive, cheerful blueprint for reconstruction after the seemingly imminent collapse of the Tower of Babel, when Finnegan Falsegain. +Our book is in the tradition of Alice's \booktitle{Adventures}---an imaginary, someways serious consideration of logic and paradox. There really was a conference, organized by John C. Lilly, M. D., and the late Alan Watts, and attended by the present authors, at Esalen Institute, Big Sur, Calif.; G. Spencer Brown did appear there and discuss his calculus and the \bt{Laws of Form} generally. Complementing actual events, the stories provide a vehicle for our own commentary on the \bt{Laws of Form}, and frame contributions from Brown and other participants in the conference. We also provide a bibliography of the reference net with which we hunt the white whale of imagination, Moby Blick. Such a paradigmatic approach to information systems offers refreshing possibilities for scholarship: a positive, cheerful blueprint for reconstruction after the seemingly imminent collapse of the Tower of Babel, when Finnegan Falsegain. -A receptive audience for this book may be found among the literary/spiritual/body movement/consciousness adepts who have made Carlos Castaneda's adventures with Don Juan best-sellers. The text should have a campus market, and a place in university libraries as a map of the territory explored in depth by disciplines with tree-logic structures. There is potential for a mass audience; science-fiction fans will enjoy the book, and likely as well readers of the New Yorker, Scientific American, and the slick and hip media (Today, of course, one would add Wired). Out of the three Sufi stories we can derive a television series and perhaps an animated cartoon. Presumably we could spin off Shakuhachi T-shirts, nickel Woody buttons, models of the Adamantinus, and other promotional gimmix. +A receptive audience for this book may be found among the literary\slash spiritual\slash body movement\slash consciousness adepts who have made Carlos Castaneda's adventures with Don Juan best-sellers. The text should have a campus market, and a place in university libraries as a map of the territory explored in depth by disciplines with tree-logic structures. There is potential for a mass audience; science-fiction fans will enjoy the book, and likely as well readers of the \booktitle{New Yorker}, \journaltitle{Scientific American}, and the slick and hip media (Today, of course, one would add \journaltitle{Wired}). Out of the three Sufi stories we can derive a television series and perhaps an animated cartoon. Presumably we could spin off Shakuhachi T-shirts, nickel Woody buttons, models of the \e{Adamantinus}, and other promotional gimmix. -Recalling Gurdjieff's recommendations for reading Tales of Beelzebub three times through, we all but guarantee Complete Enlightenment when our book is read as directed: once as a child, again when mature, and finally when mellow with age. +Recalling Gurdjieff's recommendations for reading \booktitle{Tales of Beelzebub} three times through, we all but guarantee Complete Enlightenment when our book is read as directed: once as a child, again when mature, and finally when mellow with age. + +\sec Working Outline +\ssec I. Frame -Working Outline -I. Frame Recognizing Laws of Form as a vision of the Eternal regions, the Lords of Form dispatch Philip Taoed, secret agent 109, to Esalen to make contact with G. Spencer Brown. This chapter is Taoed's report, confirming Brown's role as intergalactic messenger and culture-bringer. It contains a dossier on Brown, and introduces the other participants in the conference. Discussion of the nature of the fifth crossing, from Eternity into the imaginary (temporal) state. -II. Processing + +\ssec II. Processing + Transcript of Brown's remarks, obtained by Taoed, analyzed by the Lords of Form. They want to get his number, which is coded into the discussion of primes in Session 2 of the text. Technical experts from Sufi Central provide data on injunctive and descriptive language, myth and folklore, the Synod of Whitby, and the nature of Brown's cosmology. Particular attention paid to the "covenant of the cradle." Notes by Taoed on obscure sections of the transcript. This document, profound, precise and most eloquent in its argument, a discussion of the formal relationships of science and culture, makes up a significant portion of the chapter. -III. Models -To balance his own report, and illuminate its biases, Taoed provides an appendix detailing what happened at Esalen after Brown left: mini-synod over the issue of how to chant the sutras of Laws of Form; the calculus put to music by the Brown Cross Chorale (sheet music provided); Carl Pribram lectures on cognitive processing and brain structure, with introduction of the adamantine isomorph, a grammar for information processing; Heinz von Foerster constructs reality, and John Lilly simulates it. -Interlude -Listening to the Brown tapes, the OMasters focus on the Yellow Pearl, onion-formed around a diamond seed and containing in its layered patterns the Fourier transform of the three Sufi stories of Primo the Fool, Woody Nicholson, and Shakuhachi Unzen. Scanning the Pearl with telepathic transmissions at microwave frequencies, the OMasters perform the ecstatic group meditation that generates the dream, in the form of an animated hologram (as outlined by Pribram in the preceding chapter). -IV. Primo + +\ssec III. Models + +To balance his own report, and illuminate its biases, Taoed provides an appendix detailing what happened at Esalen after Brown left: mini-synod over the issue of how to chant the sutras of \booktitle{Laws of Form}; the calculus put to music by the Brown Cross Chorale (sheet music provided); Carl Pribram lectures on cognitive processing and brain structure, with introduction of the adamantine isomorph, a grammar for information processing; Heinz von Foerster constructs reality, and John Lilly simulates it. + +\ssec Interlude + +Listening to the Brown tapes, \booktitle{The OMasters} focus on the Yellow Pearl, onion-formed around a diamond seed and containing in its layered patterns the Fourier transform of the three Sufi stories of Primo the Fool, Woody Nicholson, and Shakuhachi Unzen. Scanning the Pearl with telepathic transmissions at microwave frequencies, \bt{The OMasters} perform the ecstatic group meditation that generates the dream, in the form of an animated hologram (as outlined by Pribram in the preceding chapter). + +\ssec IV. Primo + Alone on the bridge, Primo must discover how to control the Adamantinus and divert it from its course for the Black Hole in Cygnus. He is coupled to the ship through the bio-interface computer, which he programs through changes in his metabolism and brainwave patterns induced by diet, chanting, and meditation. Over the videocom, he is instructed in the use of the maps on the Crystal Navigation Table by Melvin Fine, the Hasidic mandarin and expert on the I Ching; gestalted by the Phantom Shrink; taught formal rituals by the gurus of Apura, a branch of MaFie; led into the paths of vegetarianism by Richheart Nobleson, stoned-out playboy desert painter; and occasionally heckled by the captain himself in the guise of the omniscient Jose Que. -All efforts to control the ship fail, however, until Primo is distracted by the sudden appearance of the very pregnant Red Queen of Heaven. Following instructions from Joyce James, graduate Wellesley medievalist, he acts as midwife for the delivery of the infant Yellow Pearl. In the act of catching the baby, he staggers backward into the control panel, short-circuiting the board and jolting the Adamantinus off its course, through the gravity/gracewarp into the America of Woody Nicholson's struggle with Ahab McGaff. -V. Woody Nicholson +All efforts to control the ship fail, however, until Primo is distracted by the sudden appearance of the very pregnant Red Queen of Heaven. Following instructions from Joyce James, graduate Wellesley medievalist, he acts as midwife for the delivery of the infant Yellow Pearl. In the act of catching the baby, he staggers backward into the control panel, short-circuiting the board and jolting the Adamantinus off its course, through the gravity\slash gracewarp into the America of Woody Nicholson's struggle with Ahab McGaff. + +\ssec V. Woody Nicholson + In this episode, Primo assumes the role of Matt Wells, agent for Scotland Fields, who progresses through the archetypes of the Tarot deck in his search tor the Yellow Pearl. She appears this time as the 12-year-old T'ai Chi star of the Peking Opera, whose disappearance during a tour of the United States has created an international incident. The government itself is in turmoil, the president and the first 21 vices having been wiped out by Ahab at the Double Cross Saloon. Woody Nicholson directs affairs of state from his superbly outfitted Winnebago, shuttling from national park to strip mall parking lot to avoid the agents of MaFie, Ahab's spiritual materialist monopoly. -Though this chapter has a number of subplots, auch as Matt's mission and the race between MaFie and the Sufia to discover the secret of interspecies communication with whales and dolphins (and thus to receive messages froa the galactic center), the climax is the Grand Noshinals, the Eisteddfodd arranged by Woody to restore poetry and music to the electoral process. The winning recipe [s submitted by the Yellow Pearl herself; it is for the Ling Chi, the ancient Chinese elixir of life, in the form of an amanita muscaria hors d'oeuvre topped by a special black mayonnaise. To prevent the Yellow Pearl from becoming the first woman president, Ahab seeks an injunction against her on the grounds that she is not an American citizen. Scholarly research into her ancestry reveals the history of the Teahouse of Necessity and the role of Shakuhachi Unzen as the unrecognized master chef. -VI. Shakuhachi Unzen -The Teahouse of Necessity where Shakuhachi works as dishwasher and garbageman is set in a bamboo grove planted by the Oriental immigrants to California during gold rush days. Late each night after the cook gets off, Shakuhachi selects dregs for mixing into a sometimes magical concoction that is offered to distinguished visitors, carefully documenting the recipes and reactions. Philip Taoed, in a time-warp disguise as the 4001st Fool, the wandering King of Troy, is ushered by Unzen to the Yellow Pearl in an earlier American incarnation, who anoints Taoed with the Shakti Lymphatic Massage. Pressing his button, the Yellow Pearl causes Taoed to reveal the true motive of his cosmic travels before the llama A1 Paca, resident spiritual materialist secretly on a warp of hls own. +Though this chapter has a number of subplots, such as Matt's mission and the race between MaFie and the Sufia to discover the secret of interspecies communication with whales and dolphins (and thus to receive messages from the galactic center), the climax is the Grand Noshinals, the Eisteddfodd arranged by Woody to restore poetry and music to the electoral process. The winning recipe is submitted by the Yellow Pearl herself; it is for the Ling Chi, the ancient Chinese elixir of life, in the form of an amanita muscaria hors d'oeuvre topped by a special black mayonnaise. To prevent the Yellow Pearl from becoming the first woman president, Ahab seeks an injunction against her on the grounds that she is not an American citizen. Scholarly research into her ancestry reveals the history of the Teahouse of Necessity and the role of Shakuhachi Unzen as the unrecognized master chef. + +\ssec VI. Shakuhachi Unzen + +The Teahouse of Necessity where Shakuhachi works as dishwasher and garbageman is set in a bamboo grove planted by the Oriental immigrants to California during gold rush days. Late each night after the cook gets off, Shakuhachi selects dregs for mixing into a sometimes magical concoction that is offered to distinguished visitors, carefully documenting the recipes and reactions. Philip Taoed, in a time-warp disguise as the 4001\textsuperscript{st} Fool, the wandering King of Troy, is ushered by Unzen to the Yellow Pearl in an earlier American incarnation, who anoints Taoed with the Shakti Lymphatic Massage. Pressing his button, the Yellow Pearl causes Taoed to reveal the true motive of his cosmic travels before the llama Al Paca, resident spiritual materialist secretly on a warp of hls own. -Al Paca deviously programs the Gravity/Gracewarp capture of the Teahouse and its occupants, but is eluded by Shakuhachi, who hides in the well, where he meets various ghosts claiming to be Abbott and Costello, Rowand and Martin, Martin and Lewis, Lewis and Clark, etc. Unzen is forced to wander, as he completes a tour of the New World, retracing the Hopi migrations, retaining in his memory the magic recipe without which Al Paca and the others cannot return. +Al Paca deviously programs the Gravity\slash Gracewarp capture of the Teahouse and its occupants, but is eluded by Shakuhachi, who hides in the well, where he meets various ghosts claiming to be Abbott and Costello, Rowand and Martin, Martin and Lewis, Lewis and Clark, etc. Unzen is forced to wander, as he completes a tour of the New World, retracing the Hopi migrations, retaining in his memory the magic recipe without which Al Paca and the others cannot return. -Matt Wells and Shakuhachi cross paths at Four Corners just as Primo backs into enlightenment. After a wild goose chase through Monument Valley, they join up with Woody and the Sufia for a titanic encounter with Ahab McGaff, Mafie and the Llama Al Paca. This resolution of the three stories is carefully attended by the OMasters, who award honors for style in a critical bibliography, and elevate the Yellow Pearl as Queen of Indices. +Matt Wells and Shakuhachi cross paths at Four Corners just as Primo backs into enlightenment. After a wild goose chase through Monument Valley, they join up with Woody and the Sufia for a titanic encounter with Ahab McGaff, Mafie and the Llama Al Paca. This resolution of the three stories is carefully attended by \booktitle{The OMasters}, who award honors for style in a critical bibliography, and elevate the Yellow Pearl as Queen of Indices. \bye
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