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Transcript of Intel - Somnus
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A
A is the waking state.
B
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which bears the burden,
which holds something on its
back. B is in essence also theviolation of the Boundary.
Something surges forth, but
is blocked behind a barrier;pressure builds up; it bulges;
it bursts. Bang!
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D
D is the Door, the Gate inmid-stream, the divider.
Water flows overwhelmingly
downwardtoward the Deep,and just at the mid-point
something checks it. Implicit
in D is always a preexistingprocessthat longs to follow
its course, to flow to the sea.
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At the end of a word, D more
frequently sends things on
their way. But at thebeginning, it generally
diminishes the force, darkens
the light, dampens the soundDrag, Drawl, Dribble,
dribble, dribble, drip. D is
not powerful enough to
actually kill a process, but it
is the English symbol ofdeath. Where B asks 'To Be
or not to Be?", D asks "To Do
or to Die?"
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E
E - Square.
G
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G is the Grail, the Void from
which all things are givenand into which all things
eventually go. It is the
Groundfrom which we
mysteriously grow, the
invisible Source. It is theLetter of the Throat. Its
bottom is too deep to be seen
Its light is reflected. Itsglances sidelong. B begins
the process; D checks it; and
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G is the process itself
ongoing. More often than
not, English experiencesimbalance with respect to
Giving and Getting in the
face of this vast and invisibleplace. It either gets greedy,
filling itself with gunk and
goo and gaudy garbage. A
third of G reflects too much
of something where it doesn'treally belong. And another
third reflects not enough
where it's desperately
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needed: it is gaunt, gloomy,
grumbling, the grave, the
gallows. But there remains aset of words which reflect a
very specific sense of
balance and a grandeur whichis not to be found anywhere
else in the English language:
Goodness, Gladness, the
Graceof God.
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P
P is the Place, the singlePoint, the sound of precision
L has the power to spread the
Point into a Plane (plate,plateau, plaque). Things are
pulled from and placed on an
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exact position. This point is
punched, pushed and pricked
P focusses the mind on thisPoint and speaks to it. B
merely explodes and cares
not a whit where it lands. Ingeneral, the unvoiced sounds
are tidier, smarter, less
violent, more socially aware
than their unvoiced
counterparts. They are morepreoccupied with form: with
position, shape and texture.
Where the voiced stops break
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the One into the many, the
unvoiced stops are the many
which seek back to the One.The voiced stops speak from
the viewpoint of God; they
live in the realm withoutform (Being, Doing, Grace).
The unvoiced stops, however
speak from the viewpoint of
man (prayer, trying, seeking,
capabilities). So B goes fromthe One to the Two, but P is
centered in this world, like
the other unvoiced
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consonants. It is the prayer
from the many back to the
One. And it seeks to reach itsmark by clear and accurate
thinking. The velar
consonants (g, k, h, ng) allhave a hidden, invisible or
secretive side, but with
labials, everything is out on
the table. For this reason, P
never resorts to intuition. Kplays cards, but P is the
problem solver. It ponders,
plans, pieces things together,
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projects, makes a pilot
project. Whereas in B the
barrier is violated by anexplosion (boom, bang,
break), in P it is pierced with
a long sharp instrument(pierce, prick, pin, puncture).
And whereas the typically
labial 'subordinate' in B
remains adjoined to its
Source (base, bottom, back),in P, it is separated. It is a
mapping, a representation, a
puppet, a picture, a
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replacement, a pawn. It
concerns position. Something
is put in the place ofsomething else. It looks the
same, but it's not.
T
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T is the Tendency: to, until,
toward, tele-, trans-.
Whereas D concerns theintensity of its process, T is
only concerned with its
location, its focus, fromwhere towhere. It touches
something in order to direct
it toward a specific end. It
teaches. It has a task in hand.
It knows where it's headed.But there's no indication as to
whether it actually gets there
T is always en route. P
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ponders. T teachesand
trains. And K actually can.
When R appears right behindit, it sends T travellingon a
tripalong a precise track.
But when the R appears afterthe vowel, it loses control . It
turnsand tearsand finds the
combination terrifying. The
voiced D divides the One into
two, but the Two of unvoicedT counts up. It puts separate
pieces together and makes
two. The duality in the
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labials is not about a number
It is a side-effect of a
hierarchy. But the twoness ofthe dentals, D and T concerns
an actual number. The
number two is implicit in theline which one finds in all the
dentals (d, t, dh. z, th, s, j, ch
n, r, l). Two points make a
line.
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K
K is a Container, anenclosed space with a small
opening and a cover. Like all
the velars, K is three-dimensional. The dentals are
two-dimensional, and the
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labials are one-dimensional.
Speaking as a computer
programmer, the labials arefor expressing hierarchy or
level; the dentals are
pointers; and the velars arefor typing or classification.
And as is the case with all the
unvoiced sounds, there is an
effortfulness in K, a seeking.
It's not content merely to be.Because K is a velar, this
effortfulness is directed
inward. In the case of labials
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the effortfulness is directed
outward. In the case of
unvoiced dentals, theeffortfulness is directed from
one point to another along a
line. K is the sound ofclosing in, closing out,
collecting, catching, culling,
keeping. Inside this space are
our intimates, the members
of our clan, the kings andcommittees. Outside are the
clownsand commoners -
those from whom we have
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secrets in order to reach its
aim. G, on the other hand,
gives and gets and doesn'tknow or care what the result
of its actions are as seen
from the world.
U
U is the dream state.
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V
V is smooth and vibratory
energywhich is channelledfrom within a container
(vase) through a very narrow
opening (veil, valve) outward(view, vista). Unlike the
stopped labials B and P, there
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is no barrier implicit in V. It
runs along a continuum, but
it is veryfar toward one end.Its labial bias is felt in this
way. It veersto one side. It
avoidsthe impediments. Aswith all the fricatives, we are
in the midst of an ongoing
process in V which does not
begin at any point as it does
in B and P, nor is interruptedin midstream as with D, nor
is directed anywhere specific
as with T, nor is gathered or
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collected anywhere as in G
and K. B stands still and
supports from below. Pstands still and propsthings
upfrom the side. But V runs
alongside in unendingservice, the vassal, the valet.
And V is judgemental. It
thinks in terms of virtue and
vice. When P errs, it errs on
the side of conservatism, forit is unvoiced. It is prudish,
picky and preachy. V like B
is voiced and errs from
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excess. Whereas B's
transgressions are merely
behavioral, V's are of theessence. B is bad. It breaks
the societal boundaries and
regulations, but V in its worsincarnation is inherently evil
It's not merely the baddie, the
bully, the bitch. It is the
villain, the vixen, the viper.
B may be beautiful, but V isvirtuous. It is the Virgin
who does not give rise to the
world once and for all in the
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Big Bang of B, but who gives
it and livesit ongoing. Since
V is voiced, the livingis notyet frozeninto life. It is not
in the realm of form like its
unvoiced counterpart F. It isthe living verb.
DH
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seeks outward toward
something, voiced TH
originates over thereat thatplace and points toward me:
the, that, then, those, these,
they. Like the voicedfricative V at the end of a
word, it forms a verb, one
which infuses (seethe, bathe)
or penetrates (scathe).
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I
I - Self.
Z
Z is an ongoing Existence,
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which is very close to Non-
Existence; the ongoing line
which is. It appears as. Itwas. And it begins (cause,
zero, zilch), or ends in
nothingness (zap, close,snooze, freeze). Like all the
dentals Z is linear. It is
energetic and runs along a
fast, smooth track. Like S, it
intensifies whatever itencounters. It is also the leas
conventional, the least
predictable of consonants.
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It's got its own agenda, and
you can seize it and use it or
else you can lose it.
F
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F is the Fatherwho funds or
founds a process and then
leaves to fly or fall freely onthe winds. F doesn't hang
around to mother and
monitor its offspringthroughout its life like the
labial M does. It just sends
them forthon their own. B
comes before and during the
explosion. F comesafterwards. It is the fountain.
B may supply a base on
which something stands
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statically. But F being
unvoiced makes explicit the
formfrom which somethingwill evolve. Unlike the other
unvoiced labial P, which is a
stop and therefore has abreak implicit in it, F does
not make a completely
separate replacement or
copy, of the form. It merely
puts on a a face, a faade, afront, which can be either
falseor frank. Like all the
unvoiced sounds, F has a
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texture, and like the other
fricatives, F is broken up into
uncountably many parts.Since it is a labial its foam
and fluff tend to lie on the
surface, the fringes. Sothough F is spatially only in
front, temporally, it can be
either firstor final. Like the
other unvoiced sounds, F has
a fightin it; it is effortful.So its labial bias is not
toward the back like B, but
toward the front, the foray.
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But it also has a sense of
humor. Being a labial, its
humor is a bit exhibitionist.Its not happy deep inside like
H. It is funny, flirtatious, fas
and fancy.
TH
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Unvoiced TH is like a needle
througha ball of yarn. It is
dense and linear. The yarn ispacked up against it. It goes
with you through thickand
thin, providing the fullnessof wealth, health, truth and
faith. But the ride, though
smooth, is not always so
easy. more often than not, it
is accompanied by R, whomit needs to propel it through
the thicket. And that can be a
thrill. What is wealth in the
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end, is often theft and thrift
in the beginning. TH has a
themewhich can become athought or a thing. It doesn't
sit out in front as a goal like
it does in T, but threadsalong the entire path.
O
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O - Mouth.
S
S is the Serpent, what theIndians call the Kundaini,
the force of life. It is so
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strong, so smooth, so suave,
so slippery, so sexy. It is
linear and dangerous and fastand stoic. It is flexible. It
squeezes and slithers and
sprays and spits and stingsand stuns. It is the seed, the
Source, which does not
create as God creates, but
reproduces as the world
reproduces, from a singleworldly thing to several. It
intensifies. At the end of the
word it forms the plural. And
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even at the beginning of a
word, it turns 'mash' into
smash', 'pike' into 'spike',lash' into 'slash', 'tamp' into
stamp'. The dental linearity
in S shows up as an attractiveforce between two things. In
the beginning of a word, it
sealsand seduces. S is the
spiritualseeker, the swami,
the saint. At the end of aword, it forms the possessive
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SH
SH is like a Shellor shelter
or sheath. It can shieldyoufrom harm, shade you from
the sun, but it can also be
shallow. Like other unvoiced
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sounds, it is preoccupied with
forms, appearances, shoulds
and shouldn'ts. It reacts withshame, or shrugs it all off,
shirks its duties, tosses it in
the trash. And SH can shakeand finally shatter,
especially at the end of a
word (bash, lash, smash,
mush). Like the other major
palatal sound in English, ithas horizontal extent (sheet,
shallow, shout).
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H
H is Home. It is having,
adherence, holding,a sort of
loose collocation of things. H
haunts; it hang around,
hovers. H doesn't involve aliteral capture; it's not stuck
as in K, nor glued and
grounded as in G. H merely
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expresses a belongingness.
There is some freedom of
movement in H, but, like afamily, it both hinders, and
helpsyou. So this
belongingness can be heavenor hell. It can be highand
happyor hardand heavy.
Like the other velars, H does
imply a space, but home,
heaven and hell are not asconfined or clearly defined a
the containers of K, or the
grooves and grottos of G. H
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horniness which seeks to
hold something back, to have
and to hold it like a securityblanket. As with all the
velars there is a certain
amount of fear implicit in thehiddenness.
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J
J is the Edge(ledge, wedge,
hedge, ridge, bridge).Because it is dental and
linear, you can't simply walk
around. You have to go insingle file andjuggleor
ockeyfor position. There is
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very little leeway. You have
to hit Jjustright, and if you
find that mystical point, itgels. But if you miss, it's a
longjumpto the bottom.
You arejunkedand rejectedThejoyin J has a sudden,
extreme and unexpected
quality about it as well. The
oke lives in J. You are led
up to the edge and released.In the realm of the mind, this
edge shows up asjudgement
The linear directedness in J i
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contains a stop, J's frequency
is lower than for the pure
fricatives and its amplitudehigher.
CH
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directedness in T and the
ongoing nature of the
fricative gives it the power tocharmand enchant.
M
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Whereas G is that which
gives forth something from
nothing, M Makessomething
from something else. It is theclay from which things are
formed, the Magician, the
Masterof his trade, theMuse. If the experiment is
successful, the result is
magical, miraculous,musical. But sometimes it
missesand creates a
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monster. It is the Man that
God made from the
primordial mudand thenbreathed life into. The
texture of M is
overwhelmingly mushy. Mcan also unmake; it can
mangle, mash, massacre. Or
it can mixthings together to
create something new. Or the
tranformation of form in Mcan manifest merely as
movement. And if F is form
and P is position, then M is
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Measureor Amount. How
muchand how many? Mini
and maxi, micro and macro,miles, meters and moons.
This preoccupation with
quantity is typical of thenasals.The hierarchy in the
labial M is the modelfrom
which a thing is made. It is
also the mate, something
taken from the rib whichmatchesthe form in order to
serve as a cohort. Put another
way, M is the Mother, the
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moldand matrixof life. M
is the state of deep sleep.
N
Nearer, narrowingin, NowKnow, new, next. Like the
other dentals, N is a line with
a special point on it. This
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not, nix, no, never, nay.
NG
G is strongand sonorous.
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Whereas the two in H don't
quite touch, but hover just
around one another, the twoin NGlongfor one another
and clingtogether. NG has
the power to bringsomething into being, a thing
or a thought. It has the power
to flingsomething outwards
so it takes wing, so it sings
out. And like the other nasals(m, n) it is without beginning
or end. NG is ongoing. NG is
the counterpart to H.
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Whereas the Home in H
always begins a word and
therefore forms the backdropfor the word, NG always
occurs at the end and
expresses a result, a loud,sonorous, unending finale.
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L
L has volume, but no specific
shape. It is Liquid, LightandAir. Without support it leans
over and becomes limp. It
conforms to whatever form itis given. And given an
opening, it blowswith the
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glitters indirectly from G and
blazes or flashes brightly
from the labials. And L is thesound of love, lifeand
feeling. Like the other
dentals, L is linear. It is longand its motion is flowing
from one place to another, if
it is first released. But the
stopped consonants tend to
hold it in check when theycome after. K can lockit in
so it can't go anywhere, P can
make it looparound back
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where it came from. G can
waterlogit. T can make it
late. D can ladenin down. Lalso has a palatal quality to it
like SH and Y which gives it
horizontal extent. L is level.It can be held low to the
ground by a lowvowel, or it
can be made light and lifted
up high by a high one.
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R
R is the most masculine ofthe consonants. It is raw,
active energy, radiating
outward like a dental instraight lines. It is rearing,
raringto go, roaring, rowdy
and roguish. It is also linearand inflexible. It has no
patience for anything, least
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of all negotiations. It
reasons. It thinks in terms of
right and wrong. If it runsalong with you it can back
you up like a rock. But if
crossed, it brings aboutwrack and ruin. It is the
energy which most
frequently drives processes
implied in the other
consonants through to theirconclusion. In second
position, it makes the face in
F to go to the front, the
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barrier in B to break, the
garden in G to grow, the
tendency in T to travel, thedrain in D to drip. But after
the vowel, it often tends to be
out of control anddestructive. It wars, fears,
careens, terrifies, mortifies
horrifies, burns, dares,
veers, turns. It is fire. Its
color is red.
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W
And W is the Axis Mundi. It
manifests as Windand
Water. It always moves inWavesand Whorls. W is
Willful, ever waiting,
wishing, wanting, ever
wangling and whining.
early all its people are
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women. It lives in the past
and the future, the alternate
realities, what was, what willbe, what wouldhave been.
And whereas R never asks
any questions, W is full ofwhy and how and wherefor,
of quests and wandering.
When brought together with
R, W can sometimes work,
but she has to be on theopposite side of the room.
More frequently she is
eclipsed, and things go
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wrong. There is war:
writhing, wringing of hands.
Y
Y is the sound of innocence
and naivit. It longs for thehigh adventure. It is filled
with youthfulexhilaration.
Where N says "no", Y says
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"Yes". But more
fundamentally, Y as a palatal
consonant represents Extent,long periods of time, great
distances: years, yelling,
yearning. At the end of aword it stretches things out,
displaysthem, makes them
longer, wider, more visible,
more accessible: Y plays,
flies, sees, sighs. It is thetrees and the fields, the sea
and the skies.
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#Logic
1. - Knowledge
Knowledge is the
accumulation of facts thru
observing, learning, and
respecting. Knowledge is thefoundation of all in
existence, for it must be
"known" in order to make it
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manifest. 1 or Knowledge is
also Man. (1)(Knowledge)
2. - Wisdom
Wisdom is Knowledge acted
upon. Wisdom is Water, orthe vital building block of
life. 2 or Wisdom is also
Woman. (2)(Wisdom)
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3. - Understanding
Understanding is the additionof Knowledge & Wisdom
(1+2=3), complete
comprehension. 3 orUnderstanding is also Child.
The highest form of
Understanding is Love.
Understanding is built from
Knowledge first-and-foremost. (3)(Understanding)
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4. - Culture and/or Freedom
Culture is a way of lifepracticed. It can also be
Freedom in certain contexts,
because the greater yourKnowledge-Wisdom-&-
Understanding the closer
your Culture will be to True-
Freedom. Your
Understanding stems fromyour Knowledge (1+3=4). (4)
(Culture/Freedom)
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6. - Equality
Equality is the state, orquality of being Equal or
possessing an Equilibrium.
Meaning to deal or reachEquality with all in
existence. Equality is reached
through common Knowledge
Wisdom & Understanding
((1+2=3)+(1+2=3)=6). 6 canalso be The Devil, as it has
the power to be equal to man
but not to God. (6)(Equality)
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7. - God & Perfection
7 is God & Perfection, the
Supreme Being/Energywhich is the origin of all the
universe. G is also the
seventh letter in the alphabetGod sees with the seven
colours of the rainbow and
hears with the seven notes on
the musical scale. Love-
Culture (3+4=7). (7)(God &
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Perfection).
8. - Build or Destroy
To Build is to elevate the
mentality & material of ones
self, others & the planet. ToDestroy is to ruin the
mentality & material of ones
self, others & the planet by
allowing negativity to
outweigh the positive. Your
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Culture can Build or Destroy
(4+4=8). (8)(Build or
Destroy)
9. - Born
To be Born is to be broughtinto. It takes 9 months to
make a baby. 9 is the only
number that gives birth to
itself (9+9=18(1+8=9)
(9x9=81(8+1=9). (9)(Born)
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0. - Cypher (Cycle/Circle)
0 is Zero, it is also the
completion of a circleconsisting of 360 degrees
(120 degrees of Knowledge,
120 degrees of Wisdom, 120degrees of Understanding).
All in existence pertains to a
cypher. A circle with no
circumference.
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#Belief: religious sense,"belief" refers to a part of a
wider spiritual or moral
foundation - generally calledfaith.
#Knowledgeis often definedas justified truth, in that the
"Truth" must be considered
to correspond to reality and
must be derived from valid
evidence and arguments.
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#Aumoccurs When energyhas
moved beyond the
duality of intellect
and intuition. It is
beyond both.
Intuition is beyond
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intellect; "_ #i_" is
beyond both. Now
there is no logic in it,
no sudden lightning
in it -- everything is
eternally revealed. In
"#Y" one
becomes omniscient,
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omnipotent,
omnipresent.
Everything is
revealed
simultaneously.