Thursday, May 21, 2015

Silencing The Virtually Solar Theater


by Bob Dobbs
2 February 1996
Memo to YOU (Part Two):

"Just as America appropriated the family farm into feedlots and factories, so will it appropriate the family into the laboratory. Thus the appropriation of the astral body in the sixties through LSD, and the appropriation of the etheric body in the nineties, will pave the way for the final act of the appropriation of the physical body around the turn of the century."
William Irwin Thompson, The American Replacement of Nature, 1991, p.43

"Substance: physical space-time, as, essentially, universally negentropic, but subsuming entropy in the guise of 'negative negentropy.' Efficient cause is substance; substance is efficient cause."
Lyndon LaRouche, The Science of Christian Economy, 1991, p.74

"The climactic text, the one that finishes the Atlantic cultural ecology and its mentality so that there is nowhere to go but into a new planetary mentality is James Joyce's Finnegans Wake - the last novel, and almost, in its way, the ultimate book."
William Irwin Thompson, Coming into Being, 1996, p.145

If the alphabet is a package and the ideogram is a probe, then the advertisement is a prayer. The chart accompanying this memo represents the choreography for a Ballet/Sufi Dance initiated by ten environments/polygons and completed by a unifying xenochrony rung by myself and Connie Dobbs from 1960 to 1990. The notion of "synchronicity" is generally considered as signifying an underlying unity or harmony invisible to ordinary awareness and perhaps of extra-sensory origins. However, ESP has been an adjunct of telecommunications for over 100 years, and I would suggest that changes in these electric forms mutate the kinds and concepts of a synchronicity that is felt to be meaningful. These mutations of shared perception can lead to different demands or requirements in order for people to feel they have experienced synchronicity (which usually has to have a quality of "surprise").

In this memo I will be using the term "xenochrony", coined by Frank Zappa, to suggest newly-evoked perceptions of coincidance and cohesion that are fresh and unfamiliar. Perhaps I should add that the characteristic of xenochrony that I am emphasizing here is one of "predictive anticipation" as was highlighted in Part One as Co-Evolutionary Anticipatory Mimesis. Now to explain the 1987-1997 Phase: