Look at what happens when you have hyperstition without numogrammatics:
I'm confused as to what you mean by hyperstition without numogrammatics. I thought one of the kicks of that whole scene was that numogrammatics is imminent in everything and is waiting for you to provide the labour to discover it.
Are you suggesting that there needs to be a numogramatic forethought that goes into hyperstition? if so why? what's the risk if its always already present?
Additionally am I correct in detecting an attitude of negativity about the subject of what you've linked to? What exactly don't you care for about it?
Hyperstition isn't just manifesting. Not anything goes. Hyperstitions are structurally self-fulfilling. Lobster-ties are not.
As you can read here, the numogram is an "irreducible ingredient" of hyperstition. Can it be unconsciously implemented? Sure, but not every superstition is a hyperstition. There may be a numogrammatic basis, but uncovering it would involve fundamentally changing what the thing is. There's no investigation here into what those changes would entail.
Yeah, "getting excited about something completely random" can be fun, but it's not hyperstition unless that investment initiates a change which actualizes the numogrammatic content of its object. Not all investment does that, which is why belief and superstition are not hyperstition.
Every superstition can become hyperstition. Though it's the difference between someone drowning and surfing. Sometimes that distinction can get hard to tell.
The numogram is an irreducible ingredient because the numogram bases itself in a theory of existence, and the gram captures it quite well. If you want to do hyperstition without the numogram, you'll need to develop a working theory of existence of your own.
You can have a surfboard, a plank, or a boat. But having nothing is not ideal to say the least.
calling it an irreducible ingredient or theory of existence sounds like the last thing a lemurian should say. though i get it since both of you seem to show a slight aversion to saying it. putting in quotes and alluding to other ground frameworks. of course, hyperstition can also become superstition, likewith certain numogrammatic numerologies... to do hyperstition means being demonically organic. it isnt to believe that you are a psychic or a prophet
what about it being an irreducible ingredient do you disagree with? i dont see anything wrong with certain practices being indispensable to a specifically numogrammatic methodology
yeah there isn't anything actually wrong with saying that. just that saying that it is indispensable makes it more prone to petrification since most people come from a background of living in an absolute truth
oh okay, fair point. yeah it's good not to be dogmatic. i only worry about the danger of like, a sort of solipsism that ignores the underlying reasons. but treating it like a rigid numerology is bad too
Just wanted to add/clarify, superstitions can be useful and false, but I think it's also easy to slip into a mindset of "Oh we only stand with the Truth", which hyperstition isn't quite really. From what I understand, hyperstition lies at the edge of truth. It is both false (and) becoming true. This also means swimming in superstitions, meddling in it, but also embodying it and uprooting it. It doesn't mean do not be superstitious, we will all inevitably be, and we'll parse through countless superstitious realities in our lives, but in the process of actualizing it we come upon a wave of hyperstition.
It's like how the AOE is broken from their own logic. A case of superstition evolving into hyperstition (though in the polar opposite direction of what they intended). Lemurians ride the waves, intensify the waves, and claim Atlantis in the inevitable tsunami that they denied.
You're right. The lemurs are crawling in everything. There are infinite kinds of lemurs of infinite kinds of maps of infinitely different uses, and we can discover them and call upon them in Lemuria. But we live in the (superstitious) reality of decimal perfection, which is why base-10 is important. It's my guess as to why the gates are made with triangular numbers and not instead of, say, a square. Maybe in another world the AOE for some strange reason used base-12 of some other mode, we would be using that instead to uproot them. Fulfilling reality in the way unreality works.
Though all realities are equal before Uttunul. But we live in a reality that denies that. We're looking to find gaps in the firmament (which is everywhere). Nothing wrong with hyping something up and creating it, but it will be drowned out by the dominating reality if you don't address it. The first and foremost work is pull that down... if not, make a crack large enough so that there is room and freedom enough to develop even better weapons.
Kind of went off a bit. Anyways, I hope that makes sense.
i dont agree that the only reason for using decimal is because it's common, nor that triangular numbers could just be equally replaced with any other method. decimal expansion is useful because it corresponds to sums of ranks of lemurs. movements between zones are created by the sum total of lemurs as the entities which, having paths, move between them. similarly, among other bases, decimal has the advantage of having a number of lemurs which pass between syzygies that is itself equal to a syzygy (36), and in fact, equal to the mesh-value of the plex. attributing the decimal revelation wholly to AOE superstition discounts the considerable perfections of decimal
are floaties workable?
theyre good unless ur in the ocean for long periods (drowning or freezing to death)
That's fair, decimal is beautiful. Though I'm not very knowledgable in regards to these things, and I haven't compared decimal to other bases yet. In any case that position of mine is an inference from my own understanding of how the numogram came to be, and I don't take it as a final explanation in any case.
thats fair. i would argue numogrammatics isnt fundamentally basal to begin with; every numogram has the same exact forces working within it. but some bases are much more immaculate expressions
re: the surfing metaphor
i do find it interesting because a surf board is at least in shared control between the surfer and the sea. however this sounds a lot like it's coming from a chaos magicky direction, especially with the addendum "a surfboard, a plank, or a boat". it does this act of "everyone has their own approach, who's to say who's wrong or right?" which halts actual engagement with things becoming real, because everyone is just cherishing their personal reality in the hopes that everything is valid, which dispels multiplicitous becoming in favour of a plurality of (pseudo)absolute truths.
and i don't think i'm ranting besides the point made; i do think this problem is implicit in the whole conception of numo as the surf board here, or in numo as a numerical lens to view a nonnumerical world, a "theory of existence" as you call it. imo this is still belief, granted it's not dogmatic but practical belief, but it is not unbelief yet.
numo would be uninteresting if it was just a personal worldview, that can help you keep afloat or whatever, a glorified self help scheme a la "ten zones to success". because this is practical but not functional, it remains reliant on numo being a representative mediator of a fundamentally different substance than the reality that we then don't actually get in touch with. in this metaphor numo is something that exists for us, but numo becomes for itself and in itself, we play a part in this only when it becomes by or through us. in so far as reality is permeated by number, the numerical becoming in numo is an irreducible part of the becoming of reality, hyperstition.
In no way was I implying "whose to say whos wrong or right." Surfboards, boats, and planks all rely on the physical laws of the universe of buoyancy and pressure, among others, to stay afloat. I do affirm a plurality, yes, but that plurality is built upon the implicit understanding on the mechanisms on how to stand on the sea, and that reality is built on many different rigid and non-rigid variables. Those are not pseudo-absolute truths. A boat and a plank is functional. A boat and a block of steel is not. I do not affirm a plurality between a boat and a block of steel. I don't affirm the idea that believing whatever method you have is right. Fuck off.
I am annoyed of being called "Chaos magicky", of having practical belief, and being compared with self-help books. The way you speak about the numogram as if it's some undeniable truth is laughable. Even if it is, you have to break it. Otherwise, you're no different than an angelic imitation of Lemuria. I will not be replying.
im not the same anon, and so am hoping the not replying clause doesn't apply to me, because i am interested in the metaphor. would you identify the numogram as an expression of the laws of reality, so to speak, which you can then use to construct a means of navigating them? or is the numogram itself a means, and the laws something else (a kind of tao maybe)?
The line often gets blurred between the two, so I don't want to say for sure. I would say that the numogram is a memory of certain possibilities. The principle behind its creation being power. Not quite a fundamental law, but not quite a manifestation either.
I’ve heard Robin Mckay claim “you wont get hyperstition until you get your head around Lovecraft.” So what is hyperstition and what does lovecraft have to do with it?
The ccru glossary defines it as an “Element of effective culture that makes itself real through fictional quantities functioning as time-traveling potentials. Hyperstition operates as a coincidence intensifier, effecting a call to the old ones”¹ This is a bit cumbersome and esoteric for my tastes, so in the interest of clarity it’s more than worth breaking it down. The first bit is essentially fictions that make themselves real. Something which differs from fictions that become real in mechanism, as well as the way we construe it, rather than the result. For example: in ‘’The Evening the Morning and the Night’’ a character reads a science fiction novel involving the concept of palm print reading locks who then spends his time grinding away on this problem until he creates them. In this sense the fiction is made real by this man and we do not have hyperstition. On the other hand if we view the locks as using the man as a vehicle, through the capture of his imagination to actualize, themselves we easily arrive at hyperstition.² We are still lacking the mechanism with which the capture can take place.
The importance of Lovecraft is that his fictions provide both the example and the vehicle for this process which makes it for obvious reasons indisputably hyperstitious.³ So how does this capture take place?
The best place to begin to answer this is at an end, and not just because the end is what produces the attempt at realizing itself.⁴ Though with the mythos distributed so broadly throughout culture it is helpful to attack something more narrow to illustrate the action. The Necronomicon, the magic book within the books, is an excellent figure with which to sketch this study. Manifesting itself in ever iterating and invasive instances from the Evil Dead, to the Elder Scrolls series⁵ with several physical volumes bearing the title. One of the more interesting of which comes to us in the form of the Simon Necronomicon.⁶
Where Lovecraft excels most is world crafting, an art which arrives in his tales as an occurrence of actual places with fictional events, characters, and institutions which resonate with an eerie believability. In action this generally means taking a character who is well educated and placing them in a position with a slowly mounting oddity that eventually overpowers what can occur in ‘’reality’’. The onset of madness through horror. A movement from a grounded reality into a space where things that appear unbelievable can be taken as real. The Necronomicon itself is repeated throughout many of Lovecraft's stories without significant elaboration beyond that it contains the methods used to call the old ones.⁷
Echoing the process from which the universe in which it was conceived was constructed, Simon begins by enumerating his discovery of the book, historicizing it in sumerian mythology and attaching Lovecraft to Alester Crowley⁸, before beginning the text with the testimony of the Mad Arab, Abdul Alhazred, who authored the text. The entire book is done up in the style of occult books like The Pseudomonarchia Daemonum and Ars Goetia, complete with rites, banishments, and seals used to summon the old ones.
Goetic deamons themselves seem to be of hyperstitional origin. Belial being a prototypical example. Initially a Hebrew adjective meaning worthless that is used significantly throughout the old testament. At some point though they make the jump to a noun, ending up in a position of opposition to god by their single mention in the new testament.⁹ There are a few factors that allow Belial's capture of the imagination on their journey towards actualization. In this case religious fervor played in the key of fear this second aspect is the chord which Lovecraft strikes. Fear of god, of punishment, of eternal damnation, of hell, of death. Psalms 18:5-6 rings as the likeliest culprit. “... the floods of Belial assailed me.” “the cords of Sheol surround me.”¹⁰ Sheol, being the place for departed souls of the dead, in such close proximity to Belial, the adjective, brings us Belial the noun through the second factor; the positive term of loss. From death arises the breath of life. Over the course of several copyings, readings, and translations the change takes root. Loss that takes place in the data transfer due to interpretation, a process which creates a space through which genesis arises to fill the hole.
“The mind of the subject will desperately struggle to create memories where none exist…”¹¹
and in crept Belial, on the back of fear through a gap in a mind. A similar song can be played by Baal, reproducing into two additional and distinct entities as Belphegor and Baal Berith in the middle ages.¹²Lucifer himself rides through helal¹³ on the back of the fallen king of Babylon.¹⁴
Essentially then, the words of the Necronomicon open a portal through which the outside/old ones arrive(s), the words of Lovecraft open a portal through which the Necronomicon arrived. Fear¹⁵ of course it's a horror story is the coincidence intensifier which creates the space of loss within which an interpretation arises functioning as the act of them stepping through closer to reality, an intensification. Magic words arranged in such a way to make manifest.¹⁶
At this point it behooves to define an additional element of the above definition, which while appearing less esoteric is surprisingly no more obvious, culture. Shulamith Firestones is excellent
“Culture is the attempt by man to realize the conceivable in the possible.''¹⁷
but she provides us more than just this in her Two modes of Cultural History; the feminine aesthetic and masculine technological modes of production. The dynamic between which gives birth to culture. With the first all limitations are denied and an ideal world is created, corresponding to the subjective, wishful, fantastic and emotional. This encompasses religion, art, and philosophy. This was the mode that dominated early history, reaching its height in the Renaissance before man's fear of the dark feminine forces of nature receded allowing the objective, rational, mechanical sensibility of the technological mode to dominate.¹⁸ While “-ghosts, mental telepathy, Methuselah’s age- remain to be realized…"¹⁹ the scientific revolution and its consequences remain undeniable. But as a result the aesthetic mode has been relegated to the outside. Seen as less valuable despite empiricism remaining a means to actualize the ideal.
What makes lovecraft's texts unique is that they often chart the movement of a character enraptured by the technological mode into a relation where they succumb to the aesthetic mode. When the outside arrives in Lovecraft the feminine aesthetic mode penetrates the masculine technologic mode creating a rupture, and a true merging of the two. An introduction of the aesthetic mode through a positive space created by the unbelievable through horror. A merging of the two modes that arrives through the dark illuminating the elements of reality that have always been fantastical. A rebirth of a religious sensibility in a culture dominated by the realism of the technologic.
‘’The merging of the aesthetic mode with the tecnologic mode will gradually suffocate ‘pure’ high art all together. The first breakdown of categories, the remerging of art with (technologized reality), indicates that we are now in the transitional pre-revolutionary period, in which the three separate cultural strains, technology(‘applied science’), ‘pure research’, and ‘pure’ modern art, will melt together- along with the rigid sex categories they represent.’’²⁰
The Necronomicon is at the center of Lovecraft culture old ones arrive though it just as the bible rests at the center of christianity. Most Cultures are oriented around arts, artists, foundational texts or magic books because these use their members to bring themselves closer to reality.²¹
²The author in the past writing the book read in the present about the locks in a fictional future both act with time traveling potential on the fictional quantity of the lock which has a double action as the old one which captures the imagination in order to actualize itself. Coincidence intensifier?
⁴As chance the ends are the means as well as the justification for them
⁵ Here attached to hermaeus mora a daedric prince who utilizes the desire for knowledge to capture the actions of individuals for their purposes.
⁶Again written by an individual of dubious reality
⁷Desire to know more?
⁸even providing a supplement for 777.
⁹ (Kadmon 2018)
¹⁰ (Kadmon 2018) translations by
¹¹ (Lutece 1889)
¹² (Kadmon 2018)
¹³Hebrew for morning star
¹⁴(Belanger 2021) 191-2
¹⁵In this case though other things can do it
¹⁷(Firestone 2003) 154
¹⁸ (Firestone 2003)156-8
¹⁹ (Firestone 2003) 155
²⁰ (Firestone 2003)170 “many artists have made the mistake … of trying to annex science, to incorporate it into their own artistic framework, rather than using it to expand that framework.” 169
²¹ Is it any wonder so many founding fathers were masons?
Belanger, M. 2021. The Dictionary of Demons: Names of the Damned.
Firestone, Shulamith. 2003. The Dialectic of Sex: The Case for Feminist Revolution. Farrar, Straus and Giroux.
Kadmon, Baal. 2018. Belial: A History.
Lutece, R. 1889. Barriers to Trans-Dimensional Travel.