Thanks to everyone for making this public space possible, a public space that allows us to experiment with social topologies, odd shapes and sizes, differences in scale, and to discuss our complexes in the pursuit of evolving our language.
And how do we write, in such a crowded, mental space, full of thoughtforms and viruses, make sense, as Lisa invited us to, of a Kleinian non-orientable surface?
And does such a surface have a depth dimension to go along with it?
This is my attempt, and I embrace my failure completely, before I even begin. Most of this report may be incomprehensible. It certainly makes me question my own motivations. I am hugely skeptical so I try my best to say what I have to say as plainly as possible while intensely aware of the impossibility. Like a cat, high on catnip, trying to catch her own tail.
Midnight, in Manhattan. I have watched, from across the courtyard, upon the fires escape, three shadowy figures, giggling, are having sex. I can’t imagine why anyone on such a chill night would engage in this behavior. They are taking selfies of one another while in the act. I assume they are high on drugs and alcohol. I draw down the shades and prepare for Dream Yoga, and try to dismiss this scene from my mind. I sleep for a couple of hours.
I wake up, and assume a good posture and meditate for an hour, giving a great deal of my attention to wishing other’s well. Like an actor or actress receiving an award thanks everyone-the crew, the director, the writers, etc.
When I return to bed, on my right side, I feel a deep peace through out my body-mind-world(s). I wear a mask and there is only darkness, and a fragile boundary. Out of the dark, a scene arises. A train moving towards a tunnel. From the outside of the train, my awareness floats, observing the dead bodies of many men, slumped in their seats, some bloody, heads and arms, stick out of the windows of the train. They are wearing white cotton uniforms, like prison garb… I assume there has been a massacre of unarmed prisoners.
Then, I am walking among the corpses, inside the train. I see one man with a bare chest has a red tattoo, like a star shape. As I enter the corridor of the train, I move towards the head of train, the control room, seeking for who is in charge, and we enter the tunnel. I feel the motion of the train moves in downward , curved shape. The train has changed from an old, coal engine, to a high speed electrical vehicle. When I get to the control room, I am surprised to discover that there is no one driving the train. No one is in control.
( Black out)
The next thing I know I am aware of a strong sensation in the third eye, an electrical current moves outward, from my cranium, and I direct my attention to the flow and stabilize it by imagining that there is a horizon in the distance, and the flow stabilized into a tunnel shape. I am aware that this is a tunnel produced by my mind, as my physical, earth body is asleep.
I can see through the tunnel an opening-and through the opening I can get a glimpse of a humanoid figure, moving in a field of light. I have a desire to move through the tunnel and join him but I am uncertain of how to do this. The figure creates a kind of signal. In one of his hands ( his left) he has a shape made of light, a shape like a cube, and he transmits this message through the tunnel, aimed at me. I perceive this as an electrical, magnetic, current like, feels much like a refreshing a program on a computer. It feels like what happens when someone tosses a ball to you and you assume a posture that can catch it. I am aware of making contact, with an intelligence that is similar and different from waking reality but there is considerable overlaps and we are working with a space that is curved. The tunnel is not still but moved much like the famous slinky toy we played with as kids.
Then, I am working in an organization, providing security for a network of psychic technicians. I sit and watch a trance session. Two persons, a man and woman, put a middle, aged black man, into a trance, The man in trance uses a lot of metaphorical language. He wakes up from the trance and leaves, I notice that the soft, cushioned chair, he sat upon, has an imprint of his body. In the area of the chair where his back was pressed, around the level of the chest, the chair has a spot where the fabric has been torn and it is the shape of a star, a gray star. Some of the stuffing beneath the surface of the fabric can be seen.
I then speak to the man and the woman who conducted the trance. I say," Language is much more than what is going on inside the person’s head. Most of the language a person uses in speech comes from below the neck. The organs of the body are in communication with all the other organs of the body. They overlap in their functions considerably, and they work 24/7.All of this activity gets turned into code by the brain which uses metaphors to develop these multiple currents of communication happening through out the body, which can be communicated to others who share a similar structure ."
I spoke this in a rush, with great enthusiasm, for I realized I was speaking from another dimension, that was both physical and mental, physcial and non-physical , simultaneously as well as sequentially. I am in more than one zone at the same time. This is very impressive to me and I it takes me awhile to hold the various pieces of the memory of this together.
When I wake up I try to put it on paper, with a bit of coffee, embracing my failure. We are doomed to fail but that is okay.My take on this, from the waking state, aware of the purpose of those of us who have take up the challenge of engaging in this course, are coming from different kinds of experiences, and yet similar enough to map across via metaphor, borrowing from the sense of a para-consistent logic, as what happens with the Klein bottle.
Making the visible, invisible, touching the weave of the in between of the surface and deep structure. The ‘John’ who is writing this report, reactivates the psycho-semantic field, and communicates from a fifth dimensional reality that passed through a four dimension ( the bloody corpses in the train) and has returned to the ordinary 3D grid. But he can remember that he remembered and he can remember that he can also easily forget.
And where does the meta-subject perceive from? About this none of my books will show. We have a lot of models and theories but none of them make much sense to me. I am working on this. Thanks, again, for sharing with a meta-attention the very long description.
