"Samizdat: Publishing forbidden literature."

Tag: Metaphysics

Revelation: A Screed on Dreams and Worlds Without End

miniature monas 2

revelation hafftka cover treatment

Revelation cover treatment including Kālī Yuga, 1977 by Michael Hafftka.

It occurs to me that I forgot to announce publication of my third book, Revelation, on Samizdat. So those of you who follow me here but not on my other site, Magic Kingdom Dispatch, may not know that I published this work.

Revelation is a metaphysik, a revelation on metaphysics, cosmogony, quantum physics, Hinduism, Buddhism, Tantra, the Apocrypha, Kabbalah, the Western Mystery Tradition, dreams within dreams and multiverses without end. Revelation includes art by the figurative expressionist painter Michael Hafftka: Kālī Yuga, 1977.

Revelation is now on sale at Amazon, Barnes & Noble, GooglePlay and Apple iBooks. The full text is available free on Academia, ResearchGate, and GoogleBooks. I made Revelation freely available as Revelation differs from my first book, A Tale of the Grenada Raiders: it steps outside that narrative. Indeed, it explains it.

I did not want readers who expected a continuation of that work of military history to wonder “what the fuck, Doc?” when they read Revelation. I feel better knowing that they can preview it and verify that it is something that they wish to read.

Information needs to be free. This website, Samizdat, is predicated on that ideal. That is why I rekeyed every word of Umberto Eco’s The Search for the Perfect Language and published it here in 2016. I do not regret it. Like medieval monks laboriously copying MSS, I know no better way to internalize a work than to duplicate it letter by letter. As a side effect of that exercise, The Search for the Perfect Language is now available in an electronic format–and anybody with access to the internet can read it at no cost.

I do not own the rights to that work. I may fold all those posts into a critical edition and offer it to the copyright holder. I will not demand compensation. If they choose not to release it, I will not be surprised if a stray copy escapes and ends up freely circulating on the net. Information wants to be free. And that work by Eco should be universally available. Professor Eco died in 2016. His estate is wealthy.

I originally wrote Revelation as the preface for The Rosetta Stone of Memories. It was not until Amazon priced the paperback at $88 that I realized that it was too long (490 pages). At 3lbs in my preferred 8.5×11-inch format, Rosetta Stone weighs as much as a phone book.

I could not in good conscience accept my readers paying $88 for a book from me, so I pulled Rosetta Stone. It took me a couple of days to split off the preface into Revelation, and the narrative into Metamorphosis. I fixed continuity errors. Inevitably I missed a couple, requiring corrected uploads to overwrite incorrect manuscripts. A pain in the ass.

There are still some errors in the .mobi Kindle and the B&N .ePub Nook versions, but they are not invalidating. Just annoying to me as a perfectionist. I am a writer. Not a designer, not a publisher. I know just enough technology to publish my books and to cobble together a cover treatment. I resorted to programmers to convert the original MS into Nook and Kindle formats, costing me $89, sapping earnings from sales, but they saved me massive time and grief.

Those 15 readers who purchased Rosetta Stone in paperback now own a rare artifact. I intend to publish a corrected version of Rosetta Stone in coming weeks. It will be an anthology containing the two books. Rosetta Stone remains on sale exclusively with Apple iBooks–and not out of any marketing motive: I am too stupid to figure out how to pull it. I will overwrite the MS there with the revised version, I know how to do that, and publish a notice to readers to delete their copies and download the fixed revision at no cost.

That fix will move the 35 literary citations at the beginning into an appendix at the end of the preface, as they are positioned now in Revelation, and fold in the corrected texts of Revelation and Metamorphosis. It will still cost $88 on Amazon, unless I publish it in black and white. I do not yet know what it will cost on Barnes & Noble. Every other physical book that I published on B&N costs $34.99 in paperback. Electronic editions: Kindle, Nook, Google, iBooks, will all be cheaper by several orders of magnitude.

I marvel at folks who prefer to purchase physical books. Yes, there is tactile gratification in holding my books, reviewers mentioned this many times. I get it. I publish in large format 8.5×11-inches because I prefer to lay out an entire page for readers. It makes it easier to grok the meaning of a page. The larger page also makes it possible to publish better photos, and most of my books are prolifically illustrated. With the exception of Revelation, which contains a mere five illustrations, my books are, in fact, picture books.

I write history. None of my books are fictional. They are history, I recount events as I experienced them and I recount them as they transpired. I knew when I wrote A Tale of the Grenada Raiders that readers would be skeptical at times. When a reader finishes a chapter in that work, they see photos illustrating the incident and the protagonists.

This is my point: with electronic formats, it is possible to search and to keep MSS in the cloud, accessible from any iDevice. My gargantuan library resides in my iCloud account. Siri can download any work, or search particular sentences. It is simple and fast to share, or to cite. I long ago lost  patience flipping through physical books, looking for text. Indexes are last century. It is much faster to search. When I read, and I read all the time, I read on an iPad. I use a giant iPad Pro, because I can put an entire page of a text on the screen.

Still, many prefer physical books. Half of my readers purchase print editions.

Those who seek to purchase Rosetta Stone on Amazon now see that it is listed but not available. Inevitably, I just today encountered the first pirated Samizdat version of one of my works on the net. Somebody extracted a copy of Rosetta Stone from GoogleBooks and set it free. I am not angry. I am honored.

As I say, Revelation was the preface to Rosetta Stone. It just kept growing as the Big Ranger in the Sky pointed me at articles and books and ideas. I am not that smart. But I know when to listen to my Muse, when to go into receive mode, and when to record revelation. Revelation is not perfect, as the messenger is flawed. But the arguments are internally coherent and I find them fascinating.

I made Revelation free as I cannot in good conscience profit from a work of revelation. Those who can benefit from it, my fellow pilgrims on a particular path, will find no obstacles in their way. If you are interested in metaphysics, cosmogony, quantum physics, Hinduism, Buddhism, Tantra, the Apocrypha, Kabbalah and the Western Mystery Tradition, you will love Revelation.

I look forward to hearing from you.

Revelation is available from Amazon.

Revelation is available from Barnes & Noble.

Revelation is available from GoogleBooks and GooglePlay.

Revelation is available from Apple iBooks. (This is its native format, as I write my books using iBooks Author. The iBooks app on Mac and iDevices offers the best reading experience, in my opinion, though the Kindle app offers better features and integration with GoodReads.)

Revelation is available from Academia and ResearchGate.

After you read Revelation, please review it. Review it anywhere, make any comments that you like, positive, negative, whatever. I will be delighted to see your feedback.

Thank you for reading! Share Revelation far and wide!

Doc T sends.

Bangkok, Updated January 15, 2019.


Eco: The Perfect Language of Images


Iamblicus (250-325 CE), De Mysteriis Aegyptiorum, Chaldoaerum, AssyriorumOn the Mysteries of the Egyptians, Chaldeans and Assyrians, Lyon: Joannis Tornaesium, 1577. In 2000, Joseph Peterson published a translation from the Greek by Alexander Wilder dated 1911 on the Esoteric Archives. A Latin edition published by Marsilio Ficino in Venice in 1497 is on, with several exemplars on Google Books. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“Already in Plato, as in Pythagoras before him, there appeared a veneration for the ancient wisdom of the Egyptians. Aristotle was more skeptical, and when he came to recount the history of philosophy in the first book of the Metaphysics, he started directly with the Greeks.

Influenced by Aristotle, the Christian authors of the Middle Ages showed relatively little curiosity about ancient Egypt. References to this tradition can be found only in marginal alchemical texts like Picatrix.

Isidore of Seville shortly mentioned the Egyptians as the inventors of geometry and astronomy, and said that the original Hebrew letters became the basis for the Greek alphabet when Isis, queen of the Egyptians, found them and brought them back to her own country (Etymologiarum, I, iii, 5).

By contrast, one could put the Renaissance under the standard of what Baltrušaitis (1967) has called the “search for Isis.” Isis became thus the symbol for an Egypt regarded as the wellspring of original knowledge, and the inventor of a sacred scripture, capable of expressing the unfathomable reality of the divine.

The Neoplatonic revival, in which Ficino played the role of high priest, restored to Egypt its ancient primacy.

In the Enneads (V, 8, 5-6) Plotinus wrote:

“The wise sages of Egypt [ . . . ] in order to designate things with wisdom do not use designs of letters, which develop into discourses and propositions, and which represent sounds and words; instead they use designs of images, each of which stands for a distinct thing; and it is these that they sculpt onto their temples. [ . . . ] Every incised sign is thus, at once, knowledge, wisdom, a real entity captured in one stroke.”

Iamblicus, in his De mysteriis aegyptiorum, said that the Egyptians, when they invented their symbols, imitating the nature of the universe and the creation of the gods, revealed occult intuitions by symbols.

The translation of the Corpus Hermeticum (which Ficino published alongside his translations of Iamblicus and other Neoplatonic texts) was under the sign of Egypt, because, for Ficino, the ancient Egyptian wisdom came from Hermes Trismegistus.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 144-5.

Nakamura: Magic Produces Wonder

The Sensuous Metaphysics of Magic: Mutual Constitution and Correspondence

“The representation of a wish is, eo ipso, the representation of its fulfillment. Magic, however, brings a wish to life; it manifests a wish.”

Ludwig Wittgenstein, Remarks on Frazer’s Golden Bough (Miles and Rhees 1971)

“Implicit in Wittgenstein’s aphorism that magic “manifests a wish” is the notion that magic requires concrete demonstration: the fulfillment of the wish made real.

At first glance, magic as both the manifestation of a wish and its fulfillment seems to pose a contradiction in this act of making real. But magic is an exchange that seeks synthesis, and such exchange, “as in any other form of communication, surmounts the contradiction inherent in it” (Levi-Strauss 1987:58).

Mikhail Bakhtin (1984) surmised, “to be means to communicate” (287). And the movement of such exchange presumes a sensuous intimacy between the outside world and ourselves: “to be means to be for another, and through the other, for oneself. A person has no internal sovereign territory, he is wholly and always on the boundary; looking inside himself, he looks into the eyes of another or with the eyes of another” (Bakhtin 1984:287).

This is the human orientation of being amidst the constant flux of the world that provokes our fear as much as desire, and discloses the condition for a way of knowing directly and sensuously.

Giambattista Vico (1999[1744] ), a forward-thinking but marginalized philosopher of his time, implicated bodily sense in a critique of the Cartesian principle of Cogito; in response to the reductive logic of geometric certainty, he formulated the axiom: man can only know what he himself has made — “verum et factum convertuntur” — and to make is to transform oneself by becoming other (Vico 1999[1744]:160).

The implication of this premise posits that human knowledge cannot be exhausted by rationality; it is also sensory and imaginative. Although Vico’s project poses three progressive historical eras of man: the first ruled by the senses, the second by imagination, and the third by reflective reason, we now recognize that all three modalities of knowledge exist throughout human history albeit at different scales and intensities.

From this perspective, magic, which embraces bodily imitation and play, is better viewed as a poetic reinterpretation of the concrete reality of human action rather than the discovery of an objective reality that presumes to regulate it (Böhm 1995:117).

Indeed it is our sensory faculties and not our rational faculties that better apprehend certain complexities of the magical realm: we know when we feel.

In encounters with magic, we apprehend the apparent trickery of bodies, substances, and things. Our reaction to such events often betrays delight, horror, fear, disgust, attraction, and fascination simultaneously, and such disorientation is desired.

Magic produces wonder, and in doing so returns us to a state of apprehending the world that short-circuits those automatic processes of intellection that discipline the senses. And wonder is central to a mode of understanding that is “capable of grasping what, in ourselves and in others precedes and exceeds reason” (Pettigrew 1999:66).

Bodily sense is key here, since it can know something more than words express. The “trick” of magic, then, lies in attaining the unknown by disorganizing all the senses; in effect, it acts to deregulate relationships that are rigorously regulated by normative cultural forms.

The aesthetic experience of magic seeks the recovery of correspondences between people, things, and places in their pre-differentiated unity, a unity that becomes obscured through “habitual modes of perception” (Harrison 1993:180).

In this way, magic aims at the perceptual movements that continually render meaning rather than at meaning itself. In this intercalary register of experience, magic presumes a certain direct engagement with the world; specifically, it recalls a pre-differentiated world as an open possibility of interrelations constantly in flux.”

Carolyn Nakamura, “Mastering matters: magical sense and apotropaic figurine worlds of Neo-Assyria,” Archaeologies of materiality (2005): 24-6.

Nakamura–Rimbaud’s Derangement of All the Senses, Magic, and Archeology

“Curiously, archaeological research has not fully exploited the evocative cooperation between text, iconography, material, and deposition in this apotropaic practice. Rather, it has been the art historical and Assyriological traditions that have provided the most thorough deliberations on the ritual.

Iconographic analyses present detailed visual descriptions of the figurines (Klengel-Brandt 1968; Rittig 1977; Van Buren 1931), and trace out a visual typology of apotropaic images (Green 1993; Wiggermann 1993), while textual analysis investigates the symbolic logic of apotropaic prescription and the mythological identities of the figures (Wiggermann 1992).

Two long-awaited volumes no doubt will provide further analyses of particular site assemblages (Green forthcoming) and the apotropaic figurines in general (Ellis forthcoming). Despite the richness of textual and archaeological data, an anthropological perspective is distinctly lacking; however, such research would considerably enrich our views of this remarkable ancient practice.

Regrettably, studies of previously excavated materials have not exploited the diverse range of approaches afforded by modern social sciences. While previously excavated sites and materials admittedly do not often lend themselves to the analytical and interpretive techniques most favored by archaeologists, such data should not be omitted from modern reconsideration and inquiry simply because they present a special challenge for substantive interpretation (see Meskell 1999).

There is, in fact, adequate data to perform detailed contextual and spatial analyses of the apotropaic practice at certain Neo-Assyrian sites. Furthermore, I would argue that conventional interpretations in archaeology — still oriented toward explanation and meaning — fail to get at the most compelling aspects of ancient magic, exactly that which makes it magical.

Magic surely presents something beyond the reach of representational or functional interpretations and thus demands a different perspective. What is required is an evocation of magic that aims directly at the caesura between meaning and matter and delves into the shadowy processes of materializing experience, belief, and value.

Perhaps it is not surprising that archaeology, with only material traces of human activity to work with, has left the critical study of magic to other disciplines. It is revealing that “magic” is generally invoked as an explanation for those slippery things, processes, and occurrences that our rational and linguistic varieties of logic can’t quite master.

From this vantage, magic has become something more suitable for explaining than for being explained. But as Mauss (1972) decisively observed in A General Theory of Magic, magic is as much a way of doing as a way of thinking.

We should consider, then, not a logic but an aesthetics of magical practice, as a particular way of making sense (Gosden 2001). And this way of doing engages a radical materiality that not only enacts the mutual constitution of subjects and objects, but provides the condition for such discursive practices.

A consideration of materiality vis-à-vis magic, then, does not presume and continue the anthropological pursuit of finding meaning in matter, the well-rehearsed terrain of discovering how various cultures construct and inscribe meaning in their artifacts.

What is magical or forceful in certain artifacts evades such fixed and flattened analyses since processes of abstraction do not account for the “untranscended materiality” or “plastic power” of the object that derives from the thing’s materialness itself (Pels 1998:101).

Impoverished attempts to discover the meaning or social context of a magical artifact, as it were, fall short not only because of an opacity of things, but also because our habituated ways of apprehending and constructing meaning threaten a veritable non-recognition of the things themselves.

This purifying analytical gaze effectively eviscerates matter of its very materiality — its innate capacity to continuously engage and enter into new relations. But recovering a recognition of things simply requires embracing the thingness of matter, namely, that insistent sensuousness of things that compels a confrontation with humans.

This move does not return us to problematic theories of materialism, but rather engages a notion of materiality as a dialectic and supplemental aesthetic of relating to.

Humans mime the animate in the inanimate, and the ideal in the real, to create and transform the world around them, only to be created and transformed right back. Such is the reality of matter: it “strikes back” (Pels 1998:91).

Within this framework I suggest that apotropaic figurine magic encompasses a process that enacts both a distinct mode of perception and a material event that renders a protected reality.

This discussion converges specifically on two aspects of magic: first, how magic capitalizes on a tension between the social construction of meaning and the radical autonomy of matter, and second, how magical perception, in the way of poetic action, masters the unknown by recovering and performing a “derangement of all the senses.” (Rimbaud 1967:302 and Deleuze 1993).

From such a viewpoint, Mesopotamian magic neither constitutes nor opposes a “rational” mode of knowing the world, but rather moves alongside in tandem, as counterpoint in a polyphonic system of knowledge. From this perspective, magic engages a sensuous metaphysics and grounds the possibility of a distinct socio-religious worldview.”

Carolyn Nakamura, “Mastering matters: magical sense and apotropaic figurine worlds of Neo-Assyria,” Archaeologies of materiality (2005): 19-22.

Metaphysical Anti-Semitism

“The coupling of masculine and feminine potencies in the upper world, which subsequently came to play such a significant role in the doctrines of the Spanish kabbalists, seems also to have been known in Cathar circles. Here too we should assume a common source in the ancient gnosis rather than immediate influences. However, it is plausible that some details were taken over by the Cathars from Jewish mystics as, for example, the idea, well known to us from the Hekhaloth texts, that Israel was the name of a celestial angel.

Such ideas may also have been introduced into the movement by Jews who attached themselves to the Cathars. Thus, we learn for example that at the end of the twelfth century, a weaver named Johannes Judaeus stood at the head of the Italian Cathars as their bishop. The name would suggest, though it by no means proves, Jewish origin. The surname Judaeus does not always signify Jewish lineage in the Middle Ages.

Another angelological doctrine to be found only among the Cathars and in the kabbalistic traditions of Moses de Leon and the Zohar asserts that the prophet Elijah was an angel descended from heaven. The ideas of the two groups resembled one another, here and there, on the subject of the soul’s fate in the terrestrial paradise and its entry into the celestial paradise after the last judgment, and regarding the garments worn by the souls before their birth that are then preserved in heaven during their earthly existence. But all of these are disparate, and unconnected details, and they concern points of secondary interest only.

As regards the fundamental conceptions, there could of course be no real agreement between the two movements, since in their rejection of the world as the creation of Satan and of the Torah as the law of Satan, the Cathars go much further in their metaphysical anti-Semitism than does the Catholic Church. Besides, the Jewish scholars of Provence were thoroughly conscious of the gulf separating the Jewish conception of the world from that of the Cathars.”

Gershom Scholem, Origins of the Kabbalah, pp. 236-7.

Borges, Dreams, Nightmares, Metaphysics.

“For the savage and for the child, dreams are episodes of the waking life; for poets and mystics, it is not impossible for all of the waking life to be a dream.

This was said, in a dry and laconic fashion, by Calderón: “life is a dream.” It was said, with an image, by Shakespeare: “We are such stuff as dreams are made on.” And splendidly by the Austrian poet Walter von der Vogelweide, who asked, “Ist mein Leben getraäumt oder ist es wahr?” –have I dreamed my life or is it real?

I am not sure. It takes us certainly to solipsism, to the suspicion that there is only one dreamer and that dreamer is every one of us. That dreamer–let us imagine that I am he–is, at this very moment, dreaming you. He is dreaming this room and this lecture. There is only one dreamer, and that dreamer dreams all of the cosmic process, dreams all of the world’s history, dreams everything, including your childhood and your adolescence.

All of this could not have happened; at this moment it begins to exist. He begins to dream and is each one of us–not us, but each one. At this moment I am dreaming that I am giving a lecture on the Calle Charcas, that I am looking for things to say (and perhaps not finding them); I am dreaming you.

But it is not true. Each one of you is dreaming me and the others.”

–Jorge Luis Borges, “Nightmares,” Seven Nights, 1984. Pp. 26-7.

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