May 30, 2009

Of Travels And Travails

Proof

In a few day's time I'll be traveling to Andalucía; ending up briefly in the UK to see the Foolish People production "Cirxus". The transformative potential of theater was instilled in me as a young girl, and after Samm's recounting of FP's production "Dead Language" in 2007, I knew they understood how to craft that potential. I feel I would be remiss if I didn't link to following at this point: 

http://www.foolishpeople.com/2007/08/a-few-facts-abo.html

If only all magicians had the same conviction; at any rate...

Samm is not easily given to praise. When he announced plans to get the Foolish People motto "Art On The Inside. Blood On The Outside." tattooed around Cell 144's insignia, I realized in part the inestimable impact Foolish People's work had on Samm.

0123092035

Foolish People, Samm's friendship and sometime collaboration with their artistic director has had a profound impact on the work of Cell 144 these last few years. Samm has considered them kin in our work, and this alone would be enough for me to feel the same. I suspect that understanding will only deepen on Jun 9th.

Cheers!

- Julia

May 25, 2009

Cirxus

25th May - 13th June 2009
Starting time:

8.30pm & 9pm
STUDIO K

Written and directed by John Harrigan

1957- Seascale, the North of England. Cirxus is an old English circus lost in the shadows of the smoke stacks of Calder Hall, the world's first commercial nuclear power station. FoolishPeople will use mythology, shamanism, music and dance to bring the darkness of an atomic circus to life. The performance will allow audience members to step into the world of an old English circus lost in the 1950s, explore its sideshows and meet extraordinary characters from the past and future.

Athalia the ballerina waits in the ring for Loudon the Clown to return with directions to the Black Pool, the mythic site of the Home Sweet Home, the final show of the season. Join her as she begins a bizarre and wondrous search for Loudon through the irradiated secrets of Cirxus, where she must face the macabre atomic menagerie, haunted by circus animals and navigate her way through the maze of strange, hallucinogenic sideshows on the other side of time.

Immerse yourself in the world of Cirxus, where theatric arcana and Atomic fallout irradiate the sawdust arenas of our inner worlds.

Presented by FoolishPeople
Written and Directed by John Harrigan

Ticket Info Here:

http://www.arcolatheatre.com/?action=showtemplate&sid=348

(Cell 144's own Julia will be in attendance. If you or anyone you know can make do so, we assure you it will change you forever)

March 25, 2009

VTI And You



VTI, or visually transmitted infection, is a weaponized version of information transfer developed by the group calling itself Cell 144. Through both specifically designed images and engineered text Cell 144 have been introducing an organism into the populace. Each day this infection spreads more widely as the organism better learns to mimic memetic propagation. The organism is described by Cell 144 as "..the hyperdimensional analog to the prokaryotic organisms which gave rise to our mitochondria."1 Infected individuals begin to develop new hyperdimensional structures, a process which may lead to any or all of the following:

Increased luck.

General Confusion.

Increased awareness and limited control over time's nonlinear functions.

Gnosis.

Loss of specific memories and/or the sudden realization of seemingly altered or completely new memories.

Occasional blackouts accompanied by the sensation of missing time.

As the hyperdimensional structures develop infected individuals report a decrease in their earlier unease. Many victims also reported bouts of euphoria. A desire to confront past traumas and proactively address problematic decisions and behaviors is not uncommon. This process has been described as "...following your pain...", and "Killing off the parts that aren't really you".2 Infected individuals eventually report conscious awareness of a symbiotic relationship with the developing organism. This sense of symbiosis tends to lead to an increased desire to cooperate/co-create, especially with other infected individuals. Anti-authoritarian sentiment begins to increases as the facade of hierarchical authoritarian structure's inevitability, desirability, and practicality becomes increasingly transparent.

This PSA is brought to you by Cell 144 and Tesseract Technologies who would like to remind you that you have just been targeted by a VTI attack. Congratulations! You are on your way to becoming both an engine of the destruction of our current diseased reality and an engineer of the New Eden which will replace it.

Interested in helping our efforts?

Please forward this VTI document anywhere you see fit, or for more information concerning our ongoing efforts please consult:

flowerofkairos.com

foolishpeople.com


1.Building The Engines Of Kairos (1993)

2.Weaponized Art: The Case For Apocalyptic And Morphogenic Artistic Interventionism (2011)

February 08, 2009

Time And Space All Over The Place

Until now this webspace has served solely as a public record of Cell 144's work. Today it is our great pleasure to present a submission we recently received. Hopefully it is not the last we will receive from all of you.

Working with time magic, as this piece demonstrates, forces one to see, in the most startling of ways, how interdependent everything thing is. The author notes that this can be uncomfortable and confusing work. This is true, but we would also like to remind you, dear reader, hat given the state of our world the alternative is far worse. We have come to a cross roads where we can no longer afford to wait patiently for linear time to have it's way with us.

Besides, as difficult as this road can be, you'll neither see blossoms more beautiful nor taste fruits as sweet as the ones along this one. With that said, onward...


Time And Space All Over The Place

I'm giving you this warning right now so I can say I told you so later:

No matter how cool it seems now do not mess with time because believe me now and understand me later time will mess with you

I turned 23 yesterday but that was six years ago last night I was a twenty-seven year old alcoholic beatnik rockstar this morning I was an eighty year old renowned but reclusive writer living alone with his cats

There are a plethora of futures surrounding you in every moment you stand at the crossroads of here and now any twist or turn you make any hesitation kills a thousand thousand futures and births a thousand thousand more some of those lives have resonance and will some of those future selves will do anything to be born anything they'll tear apart your life kicking screaming and biting pulling themselves into reality through blood and fire

You can't see the landscape of consequences that you are swimming in but beasts of causation and accident can see you they can smell your unique power realization only the I of the observer can make things real how that eye looks at now moves you into the current and though you can swim in any direction at any time once you've floated into the center of a flow it can be buggerinly hard to paddle back out again and some of these streams have rocks waiting to smash your fragile bodymind against and again until yr sitting in a coffee shop scratching these words of warning into this notebook shaking and twitching while the barristas look on in pity hoping that next time you turn 23 you straighten up and fly right instead of sinister

And hear is the monkey's paw remember nothing but this you can realize your focus in every moment in time you will see you can move in any direction but it will never not be now

I told you so.

-Fenris23/Edward E. Wilson

Fenris23 is a Reality Surfer, Mojo Artist and Infictive Poet who manifests in the body of Edward E. Wilson while in meatspace.

February 06, 2009

Testing On Object 144:12 Commences

Below are two images taken from today’s testing.; These images were obtained from a Frankenstein like device built by Julia and Elise with equipment on loan or otherwise creatively obtained via our nameless benefactor back east. The machine is beyond my depth but essentially it is an imaging device that takes advantage of the technology present in a four-dimensional volume-holographic microscope, and the kind of ultrasound equipment that produces 4D scans and marries them with more esoteric technology.

(Julia’s note: the measurements seen in these images are not nearly are derived from a model based on various biofeedback readings taken from Samm over the years. They are useful to our research despite their large margin of error, but are otherwise arbitrary symbol sets.)

Object 144:12 is the both the first and so far only object produced by linking the Newcomen II to the Large Hadron Collider. The object is also the first to be created with specifically offensive capabilities in mind. We are pursuing a number of applications in this vein. The pictures below demonstrate the first phase in our attempts to create a hyperdimensional suit. The first mage shows the coalescing of kairotic energy around the test subject (that would be me, Samm). The second image seems capture the formation of a head piece resembling a 3D projection of a tesseract. Ultimately the suit will need to be seamless and have to grow on its host for it to be effacious. Further details (including the capabilities of the suit) will be made public once Cell 144 takes this project out of its final testing phase and looks to distribute suits to interested parties.

(Elise’s note: Testing is expected to be complete by the end of next month. We’ll be making a total of twelve suits available to interested parties. Interested parties may contact any one of us through the contact info provided on this site)


Image 1: Kairotic energy accumulates around Samm


Image 2: Early attempt at creating a T12 Hyperdimensional Suit

February 01, 2009

Newcomen II Part 3

Introduction by Julia

The Newcomen II runs on burning memories. Like most machines it requires specific fuel. Therefore, you will need to select your fuel type beforehand. The memory burning process will be discussed in full in the next section. Suitable memory fuel must contain two things:

1. High emotional content.

2. A common thread that will connect the various batches of fuel you will need to make throughout the life of your machine. (Elise’s side note: I have since discovered a way to retrofit the engine for new kinds of fuel. This method will be tacked on to the hard copy of this guide which will be available later this year.)

Exotic memory fuels , lke their more tangible analogs, may produce a stronger reaction, but will be harder to reproduce and will result in higher levels of the toxic substance known as N12 (Samm’s note: for clarification, N12 is our pet name for a very specific, self destructive and addictive form of nostalgia. See Part 4 for further details, hazards, and safety measures).

During periods of low emotional involvement we tend to conceptualize emotion in a very one dimensional manner; for example, in terms of obvious dichotomies like love and hate. We rarely consider the way emotions often mix, leading us to emotional states which appear conflicting but hold an internal logic. Moreover we often disregard emotional states which have no obvious descriptors. Standing on a New England beach just before dawn, as an example, elicits a specific emotional response, however, I cannot think of a world which would sufficiently describe it. Explore a wide range of emotional possibilities before settling on your fuel content.

There are tactical considerations as well. During one of his less mature periods Samm constructed a Newcomen II based device that was fueled by angry, often violent, memories. The output of the machine was hyperdimensional artifacts he used in further aggressive actions. (Samm’s note: This lead to an inevitable fuel recycling that in time destroyed the machine and had a variety of other unpleasant side effects. *Elise’s addendum “Entropy. You’re soaking in it”) Despite oversights its design was ingenious. We have since developed safeguards which mitigate the caustic memory degradation that caused the catastrophic failure of Samm’s machine.

Similar emotional content is not the only way to establish a common thread. The integrity of the original Newcomen II’s fuel type is tied to a song. The emotional value of each batch has differed substantially but all are tied together with the original batch via song. This common thread is needed to establish a hyperdimensional cascade. The hyperdimensional cascade allows the fuel to move pieces of the machine that do not exist in the same time/space as the present “you”. The amount of fuel you will be able to extract from a particular memory will vary, but it is important to note that eventually the memory will become spent. Spent memories, aside from being useless as fuel, contain high levels of N12. A certain degree of renewability can be achieved however. This was discovered unintentionally and under the best possible conditions.

We found it was possible to construct memories which are so similar to previous batches that the hyper dimensional cascade prevents the earlier memories from becoming either completely spent or dangerously toxic. This can be a tricky proposition. Over planning can reduce the levels of emotional content to such a degree that the fuel batch is useless. This is a hazard anytime you attempt to create a fuel batch of course, but the risk increases exponentially when you try to recreate earlier batches. Some types of emotional experiences will be more suited to this than others. The following examples, described by Samm, should demonstrate both how a fuel batch is concocted and how further batches can contribute to the renewability of earlier batches.

Fuel Batch 1 Created Saturday July 4th 1987:

(Samm’s note: because the original Newcomen II was constructed using both myself and Julia as pieces of the machinery, each fuel batch must have a comparable emotional strength for each of us. To this end when we create fuel it is part of a joint effort. This said, the emotional content for each of us is often derived from different aspects of the event. )

Julia had set up a pretty specific timeline for the construction process. Especially important was the small window of opportunity on the fourth of July . Her parents were planning to celebrate the 4th with family in New Hampshire, and it was far away enough that they’d end up spending the night. Julia was reasonably certain that if she feigned being ill they’d allow her to stay behind unattended. She called me around noon that Saturday to let me know things had gone according to plan. Her folks had just called from New Hampshire to check on her and let her know a family friend would be bringing her something to eat later on in the day.

(Elise’s note: Just a bit of clarification is needed here for anyone unfamiliar with the origins of cell 144. During Samm and Julia’s first foray into time magic they evoked a tesseract. The experiment left Julia decidedly older on the inside than she was on the outside. If you’re sitting there thinking to yourself that there’s no fucking way kids could come up with this kind of shit you’re right. Our consensus is that during this period Julia was being directly controlled by a distant future self. We suspect Samm may have been being nudged similarly, but was mostly just hanging on for dear life throughout much of this ride. Though this changed drastically some weeks later when Samm and I met for the first time)

Julia had laid out her plans for this day the first time she suggested building the machine. I had lost my virginity a few weeks before this proposal, which is a good thing because I can’t imagine I would have been able to wrap my head around her proposal otherwise. (Julia’s note: had he not told me about it, I doubt I would have proposed it in the first place. I suspect something similar still would have occurred however, much of this project seemed directed by unseen hands.) We’d spend the day together, a real romantic affair building up emotions and expectations until we released it all by “fooling around” as she put it. “My parents will be gone,” she said, “so we can use my house, and you can just tell your parents you’re staying with friends.” I just nodded in silent agreement. I don’t know it was weird because until that point I hadn’t even allowed myself to think of her as anything besides this smart as hell girl from school that I had shared a lot of weird experience with. I mean, I had tremendous respect for her on multiple levels, but I didn’t acknowledge any kind of heavy emotional attachment until the words “fooling around”. That was the first time I saw her as a young woman in her own right that might have the same kinds of desires I had. The best way to put it really is, that despite all we had shared, this was the first time I fully realized her as a human being. This was no flashing epiphany however, it would be years before I could put the thought to words, and bit longer still before I was ready to acknowledge just how deeply my emotions ran.

Julia lived in a house. She was the only friend I had at the time who lived in a house. Her house was pretty nice too, and it was filled with nice things, but not so nice you felt self conscious. She had been grim determination when describing her plan, but I was relieved to see she was as shy and awkward as I was those first few hours. The weight and promise of the evening seemed to be pushing the sun toward the horizon. Mostly we just watched TV, maybe sitting closer than we would have normally. Sometimes our hands would brush against each other or our knees would touch and it flushed me so severely I had to concentrate intensely just to stop myself from jerking away from her soft heat. Eventually that neighbor knocked and I hid in the hall closet, trying not to burst out laughing at J’s horrible acting.

She gave the all clear finally and I burst out of the closet laughing and teasing her. Eventually an awkward silence filled the air, and to break it and the stalemate we’d been wrestling with all day I pulled out a flask of 7 and 7 I had bought from one of the neighborhood kids earlier that day. She put her hand on my arm, gently preventing me from raising the flask. I put the flask back in the pocket of my denim vest and followed her upstairs to her parent’s room. She was leading me by the hand, and though she seemed confident it felt like she might have been trembling slightly. My own hormones had kicked in and I could feel that blank sensation wash through me. A precursor to adult lust I guess. Instead of my insides being run over with wild desire, it was like everything just shut off, at least until it came time to put my hands and lips to her body.

I sat on the bed and she put on a CD. I recognized it immediately even though it wasn’t my usual taste; U2’s Joshua Tree was pretty hard to avoid that summer. The first kiss was sweet. The second was awkward tongues positive they belonged in each other’s mouths but unsure of what they should be doing once they got there. There was nothing self conscious about it though, and even though I can look back and smile at how little we knew about kissing the truth is at the time it was amazing. New and urgent, so much so that the power and passion of that moment still undercuts whatever cute observations I have about our inexperience.

I remember eventually drifting off next to her. I could smell her hair and hear Bono sing over and over “and you give yourself away”. I woke up quick at about three am and decided to leave instead of crashing for the rest of the night. Honestly, it was a while before either of discussed that night frankly, but we both knew something important had happened. Watching me walk down her front drive she said, “It’s going to be like using a nuclear bomb for fuel isn’t it?” I just smiled. Once I got out past the light of her front porch, out came the flask.

Julia’s notes:

I had extreme reservations about revealing this story. While Samm has always had a certain comfort with what my parents refer to as his “degeneracy” I was always acutely aware of just how abnormal his life was. I had a very strange relationship with it as a young girl; I was both repulsed and intrigued. I’m still not sure what to make of it. So much of what he did, and what we did in those years was transgressive. I’d be mortified if it had happened to anyone but me, but because it was me there is a strange normalcy to it. I was shocked when he confided in me that he had lost his virginity. The story was not at all romantic and though he claimed to not be bothered it left me feeling profoundly sad for him. I wished there was some way I could give him the tenderness I felt a first time should have. (Samm’s note: I still “claim” it didn’t bother me, however, I will concede it was an extraordinarily weird and in the strictest sense unhealthy event)

Samm recalls me being mostly calm as a cucumber, but I remember being a wreck. I have never been so nervous to this very day. My recollections are not as vivid as Samm’s. What I recall most about our first kiss was that he was so gentle and timid; it was sweet as he says. I should have known him better, but somehow I always imagined that moment was going to be as rough and course as Samm looked. The lyiric I remember most is always “You give it all but I want more.” While I felt sad about a great deal of Samm’s life, I was also fiercely jealous of it sometimes. I can vividly recall watching him talk to his girlfriend after school from the second floor balcony outside our class room. I was curious, we all were, he was the only boy in our grade with a girlfriend. One dayI leaned over the railing to get a look at her. I can’t even remember exactly what she looked like, though I know her description well enough from Samm’s writing. What I do remember is how they looked at each other. I wondered why Samm didn’t ever look at me like that, and if he noticed the way I looked at him. (Samm’s note: much of my life was profoundly screwed up at this point. Julia had the kind of childhood kids are supposed to have. Even though I enjoyed regaling her with my stories, I never actually invited her to my neighborhood. On some level I was afraid I’d ruin her I think, but more importantly, I needed her to be an example for me to aspire too)

Now, I want to stress that we did not have sex until a great many years later, and while it was to my great consternation that his retelling did not make that abundantly clear, I understand it. I wasn’t ready to have sex, but if he had pressed the issue I would have given. That night he looked at me like he looked at other girls, but it wasn’t enough. I wanted more than he had given anyone else. Like some of Samm’s recollections, this wasn’t something I could admit or articulate for many years to come.


Fuel Batch 6 Created Early Summer 1996:

The long and short of my high school experience is that it was miserable. I rarely talked to either Julia or Elise, let alone saw them, and by graduation had at best an uneasy truce with kids who were supposed to be my friends. Having finally graduated my first order of business was to celebrate with Julia who had also graduated that year. I’m pretty sure her friends thought I was profoundly weird, but they treated me well enough. Despite many missteps on both our parts, it is to our credit that almost ten years after I had moved away we found each other to have become even more of who we had started to become as kids. Eventually we found ourselves upstairs listening to the radio and reliving stories from our youth. Given every bit of high weirdness that had filled my to that point I should not have been surprised when “With Or Without You” came on the radio, but I was.

Julia kissed me with none of the awkwardness I remembered from years before, but with all the urgency and passion. I’ll be real with it though, I was pretty sure that this is where things were going as soon as I realized we were tanked and alone. Actually I was pretty sure this was the reason I had driven two hours to see her now that we were both eighteen and unteathered. None of this was romantic to me, for me this was a feeling of getting what I felt I was owed, not from Julia, but from life. Really it takes a special kind of arrogance to demand the universe pay you back for being unfair, but that’s the kind of asshole I was at eighteen. I almost feel like I should be embarrassed to admit this, but fucking her, I was angry, like pissing in the face of the kid you just beat up angry. Here I was eighteen, free and really in the middle of the best night I‘d known in forever, but somehow it wasn’t enough.

Julia’s note: I thought the night was absolutely romantic. I am not prone to tears, but I was teary when that song came on the radio. I touched him in all the same ways I had touched him when I was a girl. His eyes were filed with the kind of pain I had always felt he kept inside. I know he feels like he was closed off that night, but I feel he was more open than he’d ever been. My body remembered how it felt to be that little girl wanting more than she was ready for, and now all these years later I was ready for it and it was there for me. Life then was s rarely so effortlessly accommodating.

When we woke up the next afternoon I was feeling decidedly better about life. Lying in bed next to her I kept thinking about the summer of 87. I had spent most of the last seven years abusing my memories of that summer. The memories, by that time, only made me bitter about my life. I always ended up doing some stupid shit after stewing on them for too long, but somehow anytime things got tough I went straight back to those memories. That’s N12 addiction for you. That morning though, it was somehow different. Even though the room smelled like day old sex and drunk sweat I was more comfortable than I’d been in forever. That morning I forgot everything I needed to and remembered much of who I was meant to be. The radio was still on, this time “I Still Haven’t Found What I’m Looking For” came on...Seriously you can’t make this shit up.

Again, I won’t front, I wasn’t instantly healed but I woke wanting to push my magick and art again. I had at the very least found the spirit of wanderlust and play that had once soured on me. I was ready to be a magician again.



(Up next Part Four : Converting Memory Into Kairotic Energy)

PS, in case you missed it:

Part 1
Part 2

January 29, 2009

Bluebird

Bluebird, a quarterly print periodical of reality hacking, outsider culture, high weirdness, bio-psionics and neo-tantra for modern mystics, is now seeking submissions of writing and art.

Writing: 1500-8000 word min/max. (Wordcount here is a rough guideline, feel free to send submissions that are shorter or longer.) Content may be in the form of articles, narrative, memoirs, poetic prose. Poetry will be considered and may be shorter in length.

Art: Internal art will be black and white. Color cover. We are especially keen on post-apocalyptic folk-art.

Deadline for the first issue is March 1, 2009. We've gotten some great stuff so far, but would like to capture some more for a well-rounded first issue. With your submission, we ask that you send a short bio, 100 words max.

Many of you are sending emails asking about what is appropriate to submit. Don't worry about that. Even we aren't sure exactly where this journey is going to take us, but WE WANT TO HEAR YOUR VOICES! We want to experience your art. So please...just send us whatever you have that you'd like to share with others.

For submissions and more information: http://irrealindustries.com/projects/bluebird/

Bluebird is a Brenico Production brought to you by: Edward E. Wilson, Kara Rae Garland, Lillian Grace and Samm Hain.

Newcomen II Part 2

Overview:

(Those of you just joining us can find part 1 here)

I am writing this overview to provide an instructional counterpart to Samm's later recollection. The construction of the temporal anchor is not an emotionally engaging process. This is a matter of necessity as I'll explain, but Samm is being very adamant that this document be more than a "recipe" as he put it. Throughout we refer to the temporal anchor as a location called Door 23. This nomenclature was developed as a common point of reference once we started working with Elise who was not involved in the construction of the Newcomen II. The number 23 had no bearing on our choice for this location, at the time we had no idea 23 had significance to so many people.



(Elise's commentary: The 23's a pretty weird fucking coincidence if you ask me. I've taken advantage of it for certain calibrations I've made over the years. Not calibrations to the machine itself of course, because of its nature only Samm and Julia can do anything to the machine directly. It does allow me to get a sort of energetic resonance with the machine and helps me understand ways to refine and direct the output of the artifacts the Newcomen generates. This is how I was able to shunt the output of object twelve to those tied to the extremitas currents.)

The temporal anchor is the reference point for the moving parts of the machine. Using the metaphor of a lever, the temporal anchor is the fulcrum. Most people have unintentional versions of this; a definitive vision of what they were like as a child or a teenager for example. These anchors happen after the fact and more often than not are chosen for us rather than by us. The image I have of myself as a child, as an example, is more from my mother and father than my own memories which are few and fuzzy.

For the anchor to be useful as a piece of the machine is has to be deliberately chosen and rather being self referential it must be an image of the machine in relation to you. The goal is to create a static piece of time/space, an eternal unchanging and unchangeable moment. This can be difficult as the first spaces that are likely to spring to mind carry with them heavy emotional content. This makes those spaces unsuitable for a Newcomen II, as what becomes fixed is your fascination with the events that happened rather than the place/time they happened. (Samm's note: In part three the inverse principle will be in play. The goal there being to create a volatile fuel for the machine.)

The place I selected for the temporal anchor was an area outside our school where the two of us and a few of our friends gathered to talk regularly. Samm's recounting should fill in the rest of it. Good luck.

- Julia

(On this note, the Hadron project is in part an upgrade to the Newcomen II as well as way to bring Elise in as another piece of the machine without destroying the integrity of the anchor. Additionally much thanks to James who sent us this gem. Looks like Julia caused more of a stir than we realized.- Samm)

Outside the incinerator building the sun burned a violent shade of bright. Hot winds and bird song moved against each other like the gears of a great machine. Everywhere the grass had long given up its green, and the way the air shimmered above the road made you question why Winter was the season equated with death. I marched up streets that were not quite familiar hoping to avoid running into anyone who would know me well enough to stop me and ask to share my time. Eventually the familiar red brick came into view. To this day it reminds me of a fortress.

Julia was waiting for me by door 23. The same door we had met under nearly every day throughout the school years we had shared. We did not exchange words. Everything that had needed to be said about what was about to happen, had been said yesterday; also under door 23. When she explained it, it was so brilliant I was almost jealous that I hadn't thought of it first. Door 23 was not a place of power because it was strange, but because it was a perfectly normal place. A place that might have been any other door on any other school building where any other kids might have hatched their own secret plans; but it wasn't any other place, and try as I might, I could not think about my friendship with Julia without also thinking about this place.

What we hoped for and what happened is that now I can't think of that place without thinking of it on that day; without thinking of it as where the machine sits. Sitting across from each other we stared into each other's eyes, unflinching, until the sun's place in the sky had noticably shifted. Most people never have that experience, but most people do know how uncomfortable holding a gaze too long can be. Go long enough and that discomfort becomes transcendent, holy like only pain and discomfort can be.

My legs spasmed as I unfolded them. Julia ruffled my mohawk and I noticed her arm was covered with beads of sweat, mine was too. We were both flush from the heat. Julia wanted me to drag my hands across the black top, grabbing my hand and moving it herself as she asked. I can still feel the heat and roughness of the black top dancing with smoothness of tiny pebbles across the tips of my fingers. There was a small black bird watching us from the tree behind Julia. I told Julia to look at he bird, directing her gaze there with a firm but gentle push on her chin as I asked. "Listen to my heart beat." she said, pulling my ear to her chest. "Smell the stink of this place on me." I said burying her head where neck meets shoulder. "Taste the heat of the day." she said, bringing my lips to her forearm.

It went on like that until we'd each run the five senses several times over. Somehow there was nothing weird about it in that moment. Ask each other to notice and show each other exactly how to notice in full the time and place we were in. We owned that place and that day until it stopped being a place we found ourselves and became a place we had made ourselves. Two engineers building their machine until kingdom come.

Newcomen II Part 1

A while back we revealed the first details of a project involving the large hadron collider. Those details were admittedly sketchy, but something resembling full disclosure will be made eventually. In the meantime it is our great pleasure to present the completed manual for building and operating a Newcomen II type hyperdimensional engine. (Julia’s notation: The manual as stands is more of a third draft, but is the first version complete enough to be of any practical use.) The Newcomen II is, as some of you may recall, a hyperdimensional machine whose existence was revealed publicly for the first time here at foolishpeople.com. The purpose of the machine is the creation of artifacts used to construct hyperdimensional ley lines.

Julia and I built the first Newcomen II many years ago. Whether that's many years in the future, or the past, or some other more sideways distance of time is anyone's guess; likely it's a bit of all them. A hyperdimensional machine is not built in a string of linear moments.  The pieces, by the very nature of the machine, must be spread out through various dimensional spaces, times, and places. When all the pieces are set in place the machine goes live. The bulk of the engine sits outside of time; only ever breaching our temporal universe when it is set into motion. To our flawed perception this can sometimes make it feel as though the machine had beem completed even before work had started on it.

Constructing the Newcomen II was not a very complex endeavor; in truth we've always disdained overly elaborate ritual, preferring instead the beautiful and brief explosions of intensity one finds in a perfect punk rock song, or a really good orgasm. Each piece of the Newcomen II was constructed through a series of simple but highly intense ritualized experiences. For the sake utility we will attempt to place the construction of each piece in a linear framework. In order to avoid the sort of gigantic text block that turns minds high on the internet to mush, we will be breaking this up into several pieces which will be posted over the next several weeks.

We encourage you to build each piece as the instructions are posted instead of waiting for the full text to be posted. Each step will be accompanied by personal accounts of our own construction process. This will hopefully illuminate the process as well as inspire would be hyperdimensional tinkerers. These recollections are not simply historical documents however. They are potent artifacts of the memories and experiences used to build the first Newcomen II. With this in mind, Cell 144 will take all the credit but none of the blame for any hyperdimensional shifting resulting from exposure to these documents.

The Assembly And Operation Of A Newcomen II Type Hyperdimensional  Engine

A Newcomen II is not strictly speaking a physical machine; unlike like your car you can't go buy parts for it. The machine's pieces are built from experience, memory, and a created narrative which binds them all together. This narrative is like nuts and bolts; while vitally important it is not the machine itself and should not be the most engaging part of the machine. For example, the narrative which will hold your engine together is this instruction manual. The machine you will eventually create exists because of what you're reading right now.

You can thank us later.

Step 1: Creating The Temporal Engineer

For those of you who have no experience with hyperdimensional engineering, certain aspects of this project will seem confusing no matter we try to simplify them. This is because, as a wise person once noted, the map is not the territory. Once you begin construction a degree of clarity otherwise unattainable will settle in. While it's entirely possible a future or past version of yourself is responsible for your decision to build this machine, it's still up to the you reading right now to do something that will pass for a beginning.

Tomorrow you will be someone else. Though you will remember the person you were when you read this document, that version of you will become increasingly unfamiliar as who you are right now becomes a story passed down through various temporal iterations of yourself. The Temporal Engineer breaks that cycle by creating a version of you so specific and so defined by function that you'll forget your first love before you forget The Temporal Engineer.

While drawing up the blueprints for the first Newcomen II Julia said to me, "The day we start we have to be like pieces of a machine, not like people." I understood exactly what she meant; I was like that when I was skating. I became an extension of the board. I did not have hopes or dreams in those moments because only the next line, the next trick mattered; in those moments I was not a person, I was an experience. Most people have secret places they go to cast off the detritus of the world and after a time emerge a new person. Those of you who have no such place will need to find one before you can continue. When Julia and I were building our machine, my secret place was an abandoned incinerator building in Framingham Massachusetts. (Julia’s note: I have decided not to make the details of my involvement in this part of the process public.)

Many nights had been passed in that building, usually drinking with friends, but being there alone always seemed to make it an entirely different place. I spent the week leading up to the project start date sleeping there. Every daylight hour was spent in an altered state of consciousness, turning myself into a piece of machinery. (Julia’s notation: There is no proscribed length for this stage of the process.)  Each night I laid out my blanket and rolled my clothes up into a makeshift pillow. That summer had been brutal and those nights were no exception. Sleeping completely naked was the only thing that made the hot, still air in that place bearable enough to lose consciousness. Laying in the darkness I would imagine myself standing on my skateboard before a park of endless possibilities, and struggle to push away any other thoughts until at last sleep overtook me.

The appointed day broke like lightning; a flash of consciousness, and a sense of alertness that had not had to wind its way through the labyrinthine corridors of dream. A brassy light filtered through broken windows casting shadow sigils across my pale skin. I looked around at the hollowed out building for the first time consciously understanding how perfect it was that I had chosen an incinerator building as the place I went to rise from my own ashes. I was sticky with summer by the time I finished dressing and collecting my things but the juju of that place, conjured by my own memories of it, energized me with a sense of purpose normally unknown on days ruled by summer sun and black asphalt. I was no longer a man with a past or a future; I was simply the man who builds the machine.



(Next up, Step Two: Creating The Temporal Anchor

December 26, 2008

Philosopher's Stone and A Crackpipe

Cell 144 from left to right: Samm, Julia, and Elise. Faces manipulated to protect the guilty.


Catherine writes to ask, "What exactly is Cell 144?"

Catherine,

Some nights are too cold to sleep alone. Huddled together in the light of dying days we were a murder of crows; broken wings and all we taught ourselves to fly. I grew up with Elise. We traded the sharp geometries of their world for hidden non euclidean paradises of our own. And when it was torn from us we became a choir of angry voices singing songs of hope.

Julia says the best games can't be won. Like those two kids on the block who played the same game of basketball for four years. There was nothing casual about their game, they played it like their lives were on the line. But they were better players together than they ever would have been alone. She was a witch then, and even as a child she knew how to make it rain, but together we got ourselves into more shit than we'll ever be able to get out of. Thank god for that. She is love of the game, and absolute devotion to this art.

Julia says I saved her soul from an arranged marriage to a life that was not her own. Elise says she'd be dead without me. These are the places from which our magic is born. Out by the calm waters of the reservoir we can reflect, and we each look on our past as individuals and together. Things were simpler then and so we say "Those were the best days of our lives." But we swear a pact that those days shall not remain the best of our lives.

The world is still a pyramid scheme, a hierarchy of needs and wants where what you need will never matter as much as what the folks at the top want. But somehow running away no longer seems like a viable option, so instead we start building among the ruins. You ask "What is Cell 144?" It's what happens when you realize you can't go home, and you can't stay here.

2


Flower Of Kairos:

  • The design you see above is the flower of kairos. The flower has become a symbol for Cell 144's work with time and hyperdimensional art and magic.

    Cell 144 is an autonomous group of magicians, artists, and outlaws. This site is our declaration of war and of love.

    Caution:Site Contains Weaponized Art

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