Saturday, December 19, 2015

The Enigma of Arcanum 23


Solution proposed by CW

Hint #1. William S. Burroughs, Robert Anton Wilson and many others are implicated in the evolution of the mystery.

Hint #2. Alfred Jarry was 23 years old when Ubu Roi was first published and performed.

Ubu poster drawn by Jarry

 Hint #3. Robert M. Place provides one tarot connection and a possible solution. See image below.
Robert M. Place's solution

Hint #4. Andre Breton and other surrealists provide a swerve in the form of their Jeu de Marseilles. Ubu is implicated as the Joker in this “Tarot”.
Surrealist "Tarot" with Ubu

Hint #5. Moves were afoot to create an entire Robert Anton Wilson tarot deck the year before his death. A proposed “Sacred Chao” card 23 is shown below.

Sacred Chao card 23


AND THE QUEST CONTINUES…

Wednesday, December 9, 2015

Le Hoodoo Tarot de Marseille: Playing the ‘Pataphysical Machine Part IIII




HOODOO MAN (MEMPHIS AL)
by Albert Williams

My name is Memphis Al, and they call me the hoodoo man
My name is Memphis Al, and they call me the hoodoo man
Now if you want your fortune told,
          you had better see me when you can

I do my crawlin' at midnight, don't be seen in the day
I do my crawlin' at midnight, don't be seen in the day
Well, you know whilst everything quiet and easy,
          the hoodoo man can have his way
 
If you wanna see me, baby, you had better see me when you can
If you wanna see me, baby, had better see me when you can
'Cause you know I'm a very busy fellow,
          and they call me the hoodoo man

Le Hoodoo Tarot de Marseille is a standard 78 card Marseille deck (e.g. a Noblet or Dodal) that has been ‘Pataphysically re-imagined and re-configured (constrained) into a 33 card conjure inspired hoodoo tarot.

The deck is a singular exception to the normal Marseilles, an anomaly created by imposing a slight swerve onto the protocols determining which cards may be allowed into the deck (along with their new assigned meanings)…the nature of said swerve being inspired by hoodoo belief and practice.

The resulting deck may be read to good effect in several ways, two of which are as follows:

First, according to possible new meanings assigned an individual card (when designated...see below) and/or traditional symbolic meanings (in the case of the trumps whose meanings have not been re-defined) and/or, second, using an “open”, observational/intuitive "what's happening - how does it make you feel" approach (a la Enrique Enriquez, Camelia Elias), or a combination of both.

Potentially intriguing, amusing and significant clinamen, anomalies, syzygies, antinomies and conjurations may be observed, depending on the particular reading style(s) employed. Observing the results of at least two reading styles for any given query is recommended for full effect.

Various spreads may be used, of course, depending on the proclivities of the reader and querent. 

A significator, which is not one of the cards in the reading deck, may used to represent either the querent or the object of the query and/or eventual spell cast by the cards. 


This significator is typically an ordinary playing card, an “identifier” petition paper, or other small object, which the querent can take with them when the reading concludes…to be used as either as a symbolic reminder, continuing “prompt” of the reading…a talisman…or as a “casting” delivered in some way to the object of the query or spell…i.e. the person or thing the querent wants to either attract or repel.

The cards included in the hoodoo deck are:

All of the Major Arcana, some with newly delineated meanings as follows:


The Hanged Man – One who “turns the world upside down”, a genius, an enlightened man…one “in the know”, a trickster.
The Pope – A powerful Hoodoo Man
The Popess – A powerful Hoodoo Woman
Force – Power, not “forcing” or just physical strength
Temperance – Calculating, measuring, scheming
The Hermit – A Man of Knowledge, enlightenment, not hiding
The Sun – “In the know”, exposed, awakened

The Court cards included are:

The Queen of Cups – Healer, rootworker, healing, uncrossing, healed, uncrossed
The Queen of Wands (Batons) – Witch (black magic), harming, crossing, harmed, crossed
The Valet of Coins – Trickster (like the Jack of Diamonds)


The Pips included are:

Ace of Cups – The Holy Grail, abundant blessings, mystical union
Ace of Wands (Batons) – Sexual lust, dominance
Three of Cups – The Holy Trinity, salvation
The fives of all four suits. The quincunx, or “five spot” is an important number in hoodoo workings because it is a symbol of, and a possible stand-in for, the crossroads…a sort of portable crossroads, when the real thing is not available. In the Hoodoo Marseilles, if a five appears it means the querent is at a crossroads…in matters of love if the Five of Cups, in matters of money and luck if the Five of Coins, in matters of business dealings, if the Five of Wands (Batons), and in matters of physical, intellectual or emotional conflict, if the Five of Swords.
Nine of Wands (Batons) – Cast a spell. Nine is an important number in conjure…write a name on a petition nine times, perform a working nine days in a row (or some multiple), the timing of workings in graveyards or at the crossroads, etc.

The number of cards in this Hoodoo Tarot of Marseille is 33…3x3=9.

Additionally, the balance of the cards may be used in the following manner to answer a “yes-no” question. Shuffle the cards thoroughly, then cut the cards and turn the left half of the deck face up.

If the card on top is either Cups or Coins (corresponding to Hearts and Diamonds… the red cards in a playing card deck), the answer to the querent’s question is Yes; if the card on top is either Wands (Batons) or Swords (corresponding to Clubs and Spades…the black cards in a playing card deck), the answer is No. The strength of either the Yes or No may be gauged by the number of the card, with the two being the lowest card and the Ace being the highest, as with playing cards.

It will be noted that there is one fewer Yes cards than No cards because of the way that the suits are deployed in the main body of the “working” deck. Using this method, the deck is slightly “stacked” against a yes answer, so questions should be worded accordingly, or one could simply remove a No card to even the odds.


Le Hoodoo Tarot de Marseille may, of course, be used for ‘Pataphysical spell casting for literal imaginary solutions (as suggested, above), as well as the exposing of fictive truths (within the literal and imaginary constraints imposed by the “experiment”).

Saturday, November 28, 2015

Further Down the Rabbit Hole (Playing the ‘Pataphysical Machine, Part III)





“But what I like to say in lieu of an answer, is that card readers are good at participating in the creation of ‘fictional truth’.” Camelia Elias

“We can see how, as a pataphysical machine, the Marseilles tarot can help us reach those two degrees of separation with reality that pataphysics prescribes, but a warning is in order: we may end up eating the bread crumbs trail we left behind to orient ourselves, never finding our way back home.” Enrique Enriquez

In two recent offerings (One, Two), I explore Enrique Enriquez’ characterization of the Tarot of Marseilles as a “’Pataphysical Machine”, a refinement of Jodorowsky’s “Metaphysical Machine” depiction.

Instead of further engaging the Marseilles as a participant without conceptual input into the design of these rather odd pata-experimental operations and maneuvers, I thought that it may be a good idea to get some opinions from the deck herself prior to continuing with Part III, hence the following exchange…

Marseilles, what can you expose about the relationship between ‘Pataphysics and the Tarot that we may not be aware of?

Answer 1

 So, what are Temperence and The Charioteer looking at?

Answer 2

 And what is the Popesse looking at?

Answer 3

Oh, I see. So what do you make of Alfred Jarry’s statement “the virtual or imaginary nature of things as glimpsed by the heightened vision of poetry or science or love can be seized and lived as real”?

Answer 4

 So, what is the Popesse looking at now?

Answer 5

 And what is in Death’s gaze?

Answer 6

Yes, always the ecstatic alchemist, Jarry indeed danced too close to the edge...perhaps. What's your hypothesis regarding a (fictive) solution to our conundrum?

Answer 7

Ah...a riddle within the riddle, do you have anything else to tell us?

Answer 8

 And the Pope’s gaze?

Answer 9

Thank you Marseilles...we shall carry on with our investigations. Hopefully, we will do Jarry justice.







Wednesday, November 25, 2015

Accessing Jarry’s “universe supplemental to this one” via Parallel, Simultaneous Consultation of Two Marseilles Tarot Decks (Playing the ‘Pataphysical Machine Part II)

Image 1
“… for the tarot cannot be used to understand what is real, but to understand how what isn’t real can become realizable." Enrique Enriquez

“Cards, in the absence of a question, what is the answer?” Camelia Elias (from “Five of Cups” newsletter)

In a recent post I suggested several experimental methods of consulting the Marseilles Tarot with a view towards using this ‘Pataphysical Machine as a means of exposing various aspects of the nature of possibly realizable imaginary solutions.

Here, I will outline hypothetical operations involved in amplifying the power of the Marseilles Tarot as an experimental device that may be used in a more ambitious and revelatory exploration of the ‘Pataverse, which parallels our ordinary reality.

1. Separate the major arcana from two Marseilles decks (I use the Jororowsky-Camion & the Noblet-Flornoy in this demonstration) and thoroughly shuffle the two individual new packs of trumps.

2. Spread each into loose piles of cards, the Jodorowsky on the left and the Noblet on the right.

3. Ask the piles, “Cards, in the absence of a question, what is the answer?”, then simultaneously, with your left hand, randomly pick a card from the jumble of cards in the left hand pile, while randomly picking a card with your right hand from the pile on the right. Place the cards face down in the “first position”. Repeat this process twice more, so that six cards are on the table, alternating L, R, L, R, L, R. (see Image 1).

4. This operation results in two co-mingled “three card spreads”…three pairs. The same procedure may be used, of course, to produce other types of spreads.

Image 2
5. Flip the “L” cards. What you see is what I am designating the spread for the “left hand universe”, Jarry’s universe supplemental to this one…non-ordinary reality? How have the cards answered? (see image 2) Return the cards to the face down position. 

Image 3
6. Flip the “R” cards. What you now see is what I am designating the spread for the “right hand universe”, Jarry’s “this one”…our ordinary reality. How have these cards answered? (see image 3) Leave these cards face up.
 
Image 4
7. Flip the "L" cards. Now we may read the cards either as three L/R pairs or as a sentence of six cards, which superpose two parallel universes. (see image 4)

8. What has been revealed (or partially "covered up") about the nature of reality ?

Monday, November 9, 2015

Playing the 'Pataphysical Machine (Compositions for Marseilles Tarot)



"...we would like to challenge Alejandro Jodorowsky’s definition of the Marseille tarot as a “metaphysical machine” by re-defining it, instead, as a “’pataphysical machine”; for the tarot cannot be used to understand what is real, but to understand how what isn’t real can become realizable." Enrique Enriquez

A modest proposal...


Instead of looking at the Marseilles Tarot as a pataphysical machine, let's look at it as a pataphysical musical instrument...say a synthesizer....that spews forth its scandalous music when the tuning knobs of anomaly, clinamen, syzyzy, exception and inversion are turned all the way up and spun capriciously as the rhythms, themselves, unfold.


At the outset it should be noted that in the improvisations with the Marseilles Tarot described below, no question is posed to the deck prior to a playing of the cards. The cards fall and are "heard" as the deck is played in a variety of pataphysically inspired ways, yielding a "performance" which may suggest an imaginary solution to an unposed problem. Perusal of this solution may then, at times, expose a previously unimagined quandary.


The following machinations and visual representations of possible results should obviously not be considered in any way exhaustive, but rather merely suggestive of operations that may reveal unexpected "ahas" when applied systematically. 


All of the maneuvers are done with the Major Arcana only but would also apply if the entire deck were used.


First, obtain two identical decks and separate the Major Arcana. Thoroughly shuffle the two sets of Major Arcana into each other and then cut the resulting 44 card "deck". Either do a reading (three cards or some sort of spread) with one half of the deck, in which some of the trumps will be duplicated, others completely missing, or do a reading with the entire new deck, in which all of the trumps are duplicated.




Do this several times. What new songs are the cards singing?

Alfred Jarry often inverted everyday behaviors for pataphysical effect. As is well known, for example, he would sometimes have his dinner served backwards (from cheese to soup) much to the consternation (or amusement) of the restaurant staff and customers.


A variety of ways of playing the Marseilles backwards come to mind. 


Deal the cards from the bottom of the deck instead of the top, for example, or fan the cards like a stage magician and have the querent "pick a card" several times from the middle of the deck to create the spread (not backwards, but not off the top either).


Or, let the cards fall on the table, then read them in a mirror.




How does the mirror image of the Marseilles play, sound, speak...differently from the usual orientation?



A mirror can also be used to invert the cards top to bottom...



...to what effect?


"‘Pataphysical art has often been associated with the use of various self-imposed restraints: one of the most famous being the ‘pataphysician George Perec’s 1985 novel La Disparition which is written without using the letter ‘e’ at all. And, curiously, one of the most autonomously beautiful pieces of music in this collection is composed using a set of similar constraints: Christopher Hobbs’ L’Auteur se Retire: Aprés Schubert (2000) uses the Andante from Schubert’s Ab Major sonata of 1817 in the following manner (in Hobbs’ own description):

'L’Auteur... is a set of pieces which uses a lipogrammatic procedure whereby the letters of a composer’s name which correspond to musical notes (using the German notation convention in which S represents Eb and so on) are removed from a chosen example of the composer’s work. The pitches are removed whenever they occur in any register. The resulting gaps are replaced sometimes by silences of the same duration as the notes, sometimes by extending the prevous note.'

...and, be assured, the ensuing piece, far from being the rabidly dissonant scrap of conceptual silliness it sounds like turns out to be an exquisite little magic trick, analogous to removing all the red pigment from a Botticelli and discovering it’s become a map revealing the burial place of the holy grail."

Impose constraints upon the Marseilles deck (in this case, the whole deck). Remove an entire suit, or certain trumps and see how readings play out over a period of time...using both a "standard interpretation" approach to the cards, and then an observational/intuitive "what's happening - how does it make you feel" approach.

Or, to really explore  the idea of imaginary solutions, buy a blank tarot deck and, first, "play" the blank cards by themselves and visualize the cards that have fallen to the table. (Others have suggested this approach but not within the pataphysical context.)


Next, see what the blank "sounds" like with accompaniment...


...or...


Cinematic montage effects, while always present in combinations of cards, are accentuated when the imaginal element is invoked. 

What are the imaginary problems for these "imaginary" solutions? But aren't these solutions really "real"?

"By turning whomever uses it into a ‘pataphysician, the Marseilles tarot becomes a tool of unmatched obsolescence to face the future. If Alfred Jarry, the father of ʻpataphysics, defined it as “the science of imaginary solutions”, we can confidently use the his definition to account for the process of choosing a life’s course based on a random selection of tarot cards!" Enrique Enriquez




Wednesday, July 8, 2015

The Ontology of Semiosis


A Conscious Agent (see Hoffman, 2008, Conscious Realism and the Mind Body Problem) can be a symbol (and part of the semiotic web) but not all symbols are Conscious Agents. Patrick Dunn’s semiotic web is roughly analogous to Donald Hoffman’s user interface, in which symbols = icons. An individual Conscious Agent’s semiotic web (user interface) includes other Conscious Agents as well other types of symbols (icons). Reality consists of inter-related and interacting semiotic webs, each with a Conscious Agent at its center. The Conscious Agent at the center is the Persona of Cinemorphics. The symbols in the semiotic web are the persona’s “inventory” of characteristics. Cinemorphic change (deleting and adding characteristics) is the same as changing the symbols in the semiotic web to bring about reality shifts. “Symbol changing” can also be brought about by creating NEW metaphors…i.e. “You” ARE a persona/ego/self becomes “You” ARE a character that can be changed around (like in a script). Re-framing…re-metaphorizing is the “reality handling”/manipulation that results in <material> changes.

Monday, July 6, 2015

At Play In The Semiosphere



I will be discussing Patrick Dunn's approach to reality handling and manipulation within the context of Cinemorphic self shifting in future posts. Interesting parallels and implications...

“Think of a huge web stretching across the black emptiness of space. In each nexus of lines rests a symbol connecting to an infinite number of other symbols. It is important to grasp this concept, because symbols are the underlying girders of the universe.

I call this complex of recursive symbols ‘the semiotic web.’ When seeking meaning, the mind says ‘I can place any idea in my semiotic web, which I've built up from all the symbols of our culture, and have it make sense to me.’

I believe the semiotic web is the substance of ultimate reality. More than just an abstraction to explain the way the human mind works, I think it is the abstraction to explain how Mind works. Mind is not separate from reality, nor is reality separate from the semiotic spaces it inhabits.

Manipulating symbol systems manipulates the semiotic web, and therefore manipulates reality.”

Patrick Dunn. Postmodern Magic: The Art of Magic in the Information Age http://www.amazon.com/Postmodern-Magic-The-Art-Information/dp/0738706639

Tuesday, May 12, 2015

Night of the Living Dead meets Naked Lunch



Following William Burroughs' and Brion Gysin's Cut-Up method...
Night of the Living Dead was cut into approximately 200 clips of varying duration, randomly re-assembled, then connected with dissolves of varying length. This method resulted in fragmented repetition of image and sound, which seems, at times, to mimic the structure and effect of a nightmare.



Night of the Living Dead meets Naked Lunch - Trailer from Charles Webb on Vimeo.

Brion Gysin & William Burroughs talk about Cut Ups...



Wednesday, February 18, 2015