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WHAT IS A DREAMACHINE? HIS NAME WAS MASTER by Genesis P-Orridge BRION GYSIN'S DREAMACHINE WITHOUT TEARS by Andrew McKenzie THEE ONLY LANGUAGE IS LIGHT by Genesis P-Orridge BACK IN NO TIME by Andrew McKenzie QUESTIONNAIRE NOTES ON THE RECORDINGS NOTES ON THE DREAMACHINE ITSELF THE DREAMACHINE AS INSTALLATION IN PUBLIC CREDITS WHAT IS A DREAMACHINE? In the history of the world, Dreamachines are the first objects made to be viewed with closed eyes. In the history of art, Dreamachines bring to a conclusion the period of kinetic invention in modern painting and sculpture. Dreamachines open a new era and a new era of vision... interior vision. "Dreamachines make visible the fundamental order present in the physiology of the brain." YOU are the artist when you approach a Dreamachine and close your eyes. What the dreamachine incites you to see is yours... your own. The brilliant interior visions you so suddenly see whirling around inside your head are produced by your own brain activity. These may not be your first glimpses of these dazzling lights and celestially colored images. Dreamachines provide them only just as long as you choose to look into them. What you are seeing is perhaps a broader vision than you may have had before of your own incalculable treasure, the "Jungian" store of symbols which we share with all normally constituted humanity. From this storehouse, artists and artisans have draw. the elements of art down the ages. In the rapid flux of images, you will immediately recognize, crosses, stars and halos... woven patterns like pre-Columbian textiles and Islamic rugs... repetitive patterns on ceramic tile... in embroideries of all times... rapidly fluctuating serial images of abstract art... what look like endless expanses of fresh paint laid on with a palette knife. Dreamachine visions usually begin by the meteorically rapid transit of infinite series of abstract elements. These may be followed in time by clear perception of faces, figures and the apparent entractment of highly colored serial pseudo-events. In other words, dreams in colour. The Dreamachine is a Dream-Machine. These dreams can be immediately interrupted and brought to an end simply by opening your eyes. However you look into a Dreamachine, in a short time you will have acquired greater self-knowledge, extended the limits of your vision, brightened your perception of a treasure you may not have known you own. BRION GYSIN
Brain waves, minute electrical oscillations associated with brain activity, can be measured accurately and graphically recorded by the electroencephalograph (EEG) machine. EEG records show that brain rhythms divide into groups according to frequency. One of these groups, the alpha or scanning rhythms, is strongest when the brain is unoccupied, searching for pattern; weakest during purposeful thinking, eyes open studying pattern. The strength and type of rhythms vary between individuals. The EEG records of some primitive peoples are similar to those of a ten year old in our society. Variations occur with age. The alpha rhythms do not appear in children until they are about four years old. IAN SOMMERVILLE
Every person has the right to find the right distance for himself. Move closer to view colours. Every person has the right to find the right height for himself. Wait for a certain time until your own brain rhythms are brought into phase with those of the machine. BRION GYSIN
"Had a transcendental storm of color visions today in the bus going to Marseilles. We ran through along a long avenue of trees and I closed my eyes against the setting sun. An overwhelming flood of intensely bright patterns in supernatural colors exploded behind my eyelids: a multidimensional kaleidoscope whirling out through space. I was out in a world of infinite number. The vision stopped abruptly as we left the trees."
BRION GYSIN's JOURNAL. 21st December 1958
Elaborate geometric constructions of incredible intricacy build up from bright mosaics into living fireballs, like the man da las of Eastern Mysticism surprised in the act of growth. The elements of pattern which have been recorded by subjects exposed to the Dreamachine show a clear affinity with designs found in pre-historic rock paintings, rock-carvings and idols of a world-wide distribution; India, Czechoslovakia, Spain, Mexico, Norway and Ireland. They are also found in the Arts of many primitive peoples of Australia, Central America and the Amazon. IAN SOMMERVILLE
In the Dreamachine, nothing would seem to be unique rather the elements seem to be in endless repetition, leaping out through the numbers beyond number and back, show themselves thereby part of the whole. This, surely, approaches the vision of which mystics have spoken, suggesting as they did that it was a unique experience. BRION GYSIN
HIS NAME WAS MASTER In 1916 Brion Gysin arrived screaming and kicking, suffering forever, he said, from thee adverse effects ov constricted vaginal muscle. Projected through a world that was like Disneyland into a world that became Disneyland, via a port ov entry charged by light. Brion travelled in time and light, and made us all cry easier than loose in our own earthbound domesticity. E am coumvinced, always will be, that Brion is, was and will be, a Cultural Alchemist. He could be so negative, stubborn and cantakerous, that screaming suicide off high buildings became more enlightening than his clammed up viscocity ov no-speak. Frustrating all attempts to a direct answer to a direct question, he would benignly
draw on his kit, and, eyes twinkling, play magickal Cat and Mouse for literally hours on end. E have never met a more knowledgeable, more capable teacher anywhere, either as myth or saint, or, as in Brion's case, as human. At thee end ov thee day he was thee only man E ever wrote love letters to. To master a long goodnight... And now, in present time. He's not here. And it hurts. It hurts coumpletely. In thee way that sneaks into us unnanounced, cutting nerves and emotions, crippling our coumplacent daily stance and opening up our pain synapses to snapping point. In 1975 E wrote to Brion. E was co-editor ov a reference book ov mammoth proportions called "Contemporary Artists", and E was determined that Brion should be rightfully represented in that tome as a radical Artist and Painter. Not dismissed as an eccentric dilletanie as had appeared to have happened in thee deceptual art world. For ten yeras E had, like so many, been tracking down these renegades via deleted Beach Books, often found in Soho porn shops. Exploding with multiple recognitions ov contemporary arcane knowledge that appeared to coumfirm youthful instincts and intuitions, Brion was always thee hardest to find. He remained that way forever. He had becoum light. There was no focus, only reverberating frequencies and pulses, crystals at his centre. He had becoum, quite literally and physically, a Dreamachine that had assumed human form for thee reassurance ov us mere observers. We stare with closed eyes. He flickers bright on our retinas and generates vivid signals. E see all about Brion as Magick and Light. E re-discovered perception through him. Out to Brion went a list ov questions about his life so far. Back came a cultured exclamation ov surprise with a note, "Even the C.I.A. don't know this much about me". Through correspondence we met in Paris. He would make tea in his tiny kitchen, Morroccan style. Naming thee different bubbles as thee water heated. As thee fish eyes appeared he poured thee water onto thee tea. Exploding its flavour. Thee Alchemists believe that water boils at 101�, he explained. We soon developed a tradition, chocolate biscuits and tea in thee afternoons. A small pasta meal in thee evening, with spirits to accoumpany it. Coffee later on. E would sit. Thee sound ov drumming outside thee Pornpidou centre. Flashes ov Marrakpsh. Sunlight catching thee white flowers on his table, smell ov hash smoke. Swiss Urenmachine in thee corner. Calligraphic paintings on thee easel. Notebooks in rows. Morroccan trinkets reminding me ov his influence ovpr Brian Jones. And he would talk. It was like a children's fairytale. Thee child looking up spellbound and thee Grandfather enrapturing with his amazing tales and anecdotes. Never enough time. Yellow light cutting across thee later shadows and dreams. There is no way to describe how proud E was to meet and know this man. "the hallucinated have come to tell you that yr utilities are being shut off, dreams monitored, thought directed, sex is shutting down everywhere you are being sent. all words are taped, agents everywhere, marking down the live ones to exterminate. they are turning out the lights. no they are not evil nor the devil, but men with a spot of work to do. this, dear friends, they intend to do on you you.
Unprompted by any prior information about what it was. I have not much recovered from my fall on the stairs.finished. eyes ov Horus. Don't worry. After all is said and done. The right way is to simply. He's a bit ov a misogynist E warned. He coumgratulated us on our impulsive marriage in Tijuana in 1981. . butter E have always found him charming to women nonetheless. Well.. .. I don't feel any necessity to do all these things but I guess I'll do them if I am still stuck here and have to do them. "DEarset Gen There is not much point in telling you just how negative I am feeling these days. Alaura used thee Dreamachine. . It's a spark. Soon Alaura was swirling through psychedelic patterns and vivid colours. Alaura knew nothing about Brion except my love for him. Nothing much more to be said than dumb numb no-news. "Heathen Earth" played as she and thee Arab boys stared. daze.. E filmed on video. tell thee truth. and she is right. Thee glow ov Paris light. Her love was instant and pure. Thee desert scapes." Love Brion 17 March 1982 And within everything else there is coumthing else. Caresse calls him "Grandad. I'll do them the best that I can and that may not be much. ryes closed. my Grandad".you have been offered a choice between liberty and freedom and NO! you cannot have both" Brion Gysin minutes to go 1968 Thee way to write is to simply tell thee truth. so many archetypal symbols and places. he tries to be. Thee wise old man ov thee lowlands. his face in snapshots on thee mantelpiece. He paintings on thee walls.. E live forver surrounded by Brion. Proof positive that thee . Chance had it that two boys from Joujouka were staying with him In Paris that week. I felt only one thing. When E took Alaura to meet Brion for thee first time E was nervous. Brion made us relaxed.
E was once more in a fairytale. life. creativity. Now E always introduce his paintings as figurative works to make this point. self-assurance. emotions. Brion's work and friendship is a reminder ov work to be done. or entertainment. Thee first time E looked at Brion's drawings they appeared abstract calligraphics. There should be no separation between work. ov perceptual editing and focused will. love. are all thee person who makes and feels them. As we ate and talked. Brion was full ov energies. Dreams are accurate transmissions. At thee end ov thee evening. his bittrrnesses and fliratations with socialites were nothing. and a challenge to thee stagnant coumplacency ov thee dreamless minds that would like to drown us. ritual Magick. His ideas are frequencies that travel and confront as intimately as Television. descriptions and events that cannot be ignored. A commentary on Man's potential and hopes. Man dreams before he talks. Brion saw dreams as a parallel and interconnected universe. They simply included thee nature ov reality and time that engages our receptors in a manner we are unused to.Dreamachine actually works. A product ov thee Third Mind. would go against a dream ov evolution through knowledge and psychic development. A book. Magick begins ini dreams. a film. This is a magickal process and makes things happen. Separation would be dishonest. E have never lost my joy and thanks for such a special gift from Brion. and to their credit. how things really are. If you take these dreams seriously enough they DO happen. he gave us a painting. Today. employed people to interpret and record these dreams. and since our first dreams we have felt that therein are messages. priceless and special meal ov my whole life. kindest man in thee world. which he inscribed for us. Brion was a philosophical and alchemical transmitteri receiver. thee old magician conjouring sensations and rewards. a society and culture with a vested interest in thee suppression ov imagination. through light and time. Dreams are descriptions ov. responses and relationships. and we loved him totally for it. thee most beautiful. Nothing could have been more literally priceless than that dark. Priests would stand on towers and pass their hands before their eyes rapidly creating a flicker effect against thee sun. flamelit evening. Dreams are merely disturbed nights. All thee fears and illnesses. questioning and aspiration. It reveals even more. programming our subconscious. all thee betrayals and losses ov his life. Our pagan wedding present. butter with thee content ov full knowledge and potency ov shamanic. paintings. Cooked and served by tht'e musicians ov Joujouka. is not triggered by preconceptions. discards dreams and esoteric techiques as trivia. thee boys played thee sacred musick ov Pan on pipes in candlelight. No womnder he fell in love with thee Pipes ov Pan and thee sunlight ov thee desert. dreams. dreaming what we would like to happen. would go against all our potential. There should be no separation. E could suddenly see they were indeed photographically accurate pictures ov everyday scenes. He was thee wisest. eventually "tripping out" and speaking ov visions which were coumsidered holy and powerful. and then express that integration through popular culture and expressive arts. Prophesies. We must all aim for coumplete integration ov every possible and impossible facet ov our minds. music. through frpndships and events. Arcane societies and civilisations in their wisdom. And afterwards. Then he told me they were portrayals ov Arab market places. orange. .
There was nothing to say. A simple machine to decondition and reactivate our perceptions. A machine that for thee price ov a lightbulb leads you drugless into thee core ov your being. Suppressing outemotions and terrors because they meant nothing.He was in many ways a traditional Artist. During that last afternoon thee undertaker came to discuss death arrangements with Brion. ten days before he died. Had no value against losing Brion. Open them. Brion was sure he was here to go. he said. Thee question he most studiously avoided was thee same. And what we do is described by. Being physically alive had becoum a struggle. In thee eleven yeras we were friends. And then he told me his. When you cease to dream. Thee fight is between suppression and perception. Alaura and E sat and held his hand. and told us ov their work with electrical sculpture and words. In present time. Dangerous stuff. All knowing they will lose him soon. "Tell me about Magick". always outgoing and moving. through Brion. "I just never guessed that it would hurt so much". Dreams generate ideas. liberate behaviour. Thee last time we saw him was in Paris in 1986. We couldn't articulate thee craziness ov life and death. E said. He was always living in now and thee future. hope and light. that way lies death. "Do you know your real name?". and all those things that encourage freedom. and bridges thee abyss between sleep and wakefulness. Thinking ov new projects. painting. you cease to exist. always absorbing and thinking. We felt euphorically disconnected. Brion recognised that we are at war. Perhaps a crucial tool for thee arousal ov vision. sexuality and guilt. Yet he once graciously gave me a clue. They were influenced by thee work ov Brion. yet by thee nature ov his personality he was simultaneously and without self-contradiction thee most radical thinker ov our age in thee area ov Magickal creativity and cross-discipline possibilities. and in a sense half ov it does. and most ov all create possibilities. Alaura and E went walking around Rue St. who they'd heard lived in Paris. No wonder Brion was frozen out to thee sideshows ov painting and writing. stimulates thee mind. working with young people. Thee world doesn't die. and coumtained within our dreams. he said. There was never a superiority or generation gap with Brion. we have a Dreamachine. It was as E expected. No surprise then. Shut your eyes. We are left here to do. that his greatest political and behavioural achievement was dubbed The 'Dreamachine. So many people who love him so much. taps you into thee mass subconscious. E did. Holding 'soirees' for young fans and seekers. defined by. Make no mistake. It was over. Exiles in America. records. thee question E most asked Brion was. and between all those things that bolster and assist control. evolution. Too real. enhance sexuality. perception and inner space that has becoum our heritage. Now. its suppression in subtle ways was no accident. . making music. For Brion and those who revere his work. manipulation and darkness. Two boys from behind thee iron curtain stopped us. We drank coffee and took their address. empower Magick. conscious and unconscious life. Societies controllers try to ensure that dreams are represented as vestigial trappings ov intuition.Martin. "He doesn't live in Paris anymore". Too close to functional and practical techniques. And really there was nothing more to say. and are best kept in their place. yet cold.
is as reprehensible as it is symptomatic of the present nearsighted and positively myopic attitude to the disse'minaition of information. mis-interpreted. or more correctly. it is a 'means of provoking accident'. suppressed. taking it still further and further by means of ACCESS. sobbing uncontrollably. For the Dreamachine incorporates ALL the centres of being. It is the present intention to redresss these anomalies by means of a clear exposition and the making available of this idea. willingness to collaborate. Casting a cold bluish tinge through everything.Frail Images ov his room. "Brion's dead". Since Brion Gysin's invention. fed into a process entirely at one with its original conception. to be blatantly ignored. and was the result of a well documented chance happening. the body is brought into sharp focus by the simple expedient of the eyes being closed . As thee light was going from him. 1 her air itself thee colour ov thee plastic tubes nnd bags ov liquid. ridiculed.and the emotions react that much more clearly on being exposed to the extraordinary range of visions.. his space was becouming transparent. But as suggested in Gysin's writings and elsewhere. In itself. which range from simple patterns to complex symbols and 'inner films' which touch the inner core of existence. ignored. Ten days later Alaura came rushing into thee room crying. his formulative re-discovery of the principles of direct interaction with the Alpha waves in the human brain. Now n hospice. and a whole host of other negative attitudes born out of fear or ignorance grafted onto the idea. The manifestation of vision by rapid flickers of light on closed eyelids that correspond to the inherent rhythmns of the brain can be traced back to Nostrodamus. genesis p-orridge November 1986 london BRION GYSIN'S DREAMACHINE WITHOUT TEARS That a situation can be tolerated that allows the potential for individual selfknowledge. . reflecting the basis of its conception's acceptance of change. namely the Dreamachine in 1959. the mind is directly engaged. provokes and provides. Shamanism in various cultures and other 'esoteric' references. and to re-examine all aspects of the capabilities which it suggests. the opportunity has been mis handled. she said. and that facilitates access to finer and rarer rates of vibration and planes of existence by means of an almost ludicrously simple construction.sensations becomeing more potent in the absence of other sensory distractions . 'random' is seldom what it seem". and probably much earlier attempts to reach out up to other levels of vision that are more complete than the mere cognition of information that is "everyday sight". so that it is self regenerating and progressive.
as well as making evident new ones. totally at odds with the cxurrent developmental climate present in the world. that all 'martter' is in a constant state of oscillation. This allows a much more pure form of energy to pass through them. by 'interrupting' or even 'cutting up' light (white light contains all the colours). they arc just as involved in the creation of the experience. but certainly the first painting that the viewer must complete themselves. Physics lias had to contuinually revise the basic tenets of its creed due to the discovery (or eventual realisation. entered into. This opens up immeasurable oceans of possibility. of its limitations. and indeed the rest of the 'self. due to its purity. Crucial to an understanding of its importance. By re-creating (i. and therefore can never be accused of having any element of plagiarism. by returning to the source of its arising) the shapes on paper from the intial nucleus to the point of their completion. That is. that vibration is the base from which all springs. which through the revolving of its numbers and letters brings out. no matter how forceful the attempts.witness even the simple quabalistic expostion of the word 'Dreamachine' itself (included elsewhere in this package).Seen in this context. It is. And this cannot be twisted around. a painting. it is important on the level of re-presenting opid truths. we can be aware of where they can go. is its truly interactive mode of operation. and therefore its possibilities. The present form evolved from a construction with simple slots. The basic premise is that exposure to light has a deeper significance.in short. it is worth remembering that paradox is an essential tool for reminding the brain. To open doors. By examining and tracing where things come from. mentioned at some time or other by all religions. feeding and being fed by themselves. The levels conmtained within this statement carry on and on with their ramifications into infinity . a rare enough state in itself. perhaps even more so than the artist himself. it is a method of balancing and effecting a communication with the three bases of life itself. to have function. These symbols are the 'stuff from which all things are formed. given that most religions had intuitively grasped this fact centuries before) that nothing is solid. At this point.e. to affect other vibrations on corresponding levels. the strength and cohesion of the correspodences within. for as the Dreamachine demonstrates. Light is merely vibration at a much higher frequency than sound. If this seems to present a paradox. it is possible to go further. into that which is destructive. but something intended to be useful. The Dreamachine has grown from tradition. effect change . and has its roots in Islamic geometry. as a mirror of a much greater light. one is led through a process that immerses the participant into the realm of symbols. one of the most highly developed aids to interactive self-contemplation and awareness existing.. As has been abundantly documented in recent years. each then becoming more strongly connected. not static representational depictions. as if proof were needed. So. as Gysin himself often referred to it. . It is also strangely reminiscent of the oreiginal purpose of Art as a kind of sympathetic magic. in fact. not only the first in the world made to be viewed by the closing of the eyes.
in a direct manner. Responses from viewings of the Dreamachine are strongly connected. These traditions have also left their mark on the Dreamachine in their emphasis on learning. depends on that gained from actual and direct experience of truth . It is anti mass-communication. in turn. to the purificatory practices stemming from where it grew. it maskes us search inwards in order that we might go outwards. And the learning to be found in these so often referred to as 'backward' or 'underdeveloped' societies. This is still further confirmation of its direct dealing with reality: the journey from the world of appearances through symbols to that which is actual. Which brings us.It is also the most extreme and effective personal creation. ignorance. for no two people report the same experience. and removing the artificially induced separation between "us" and "them" almost impossible. It is not a sophisticated Disneyland where plastic is more precious than flesh. A symbolic language is always used. reality is whatit is. The dirt of jealousy. insincerity. which makes the play of luight alternate between its own inner and outer. blindness. nor the same experience more than once. For it means that we can actually speak to each other by whichever means are appropriate. where forced smiles covering the terror of the situation (and also its beauty) are making the task of discovering what we are here for. artifice.to use the self as a vehicle for transportation to a realm where what occurs is free of the normally corrupted and corrupting currency or rate of exchange with others.we have looked into and at ourselves from the outside and inside simultaneously. and for it to be passed from one person to another requires the utilisation of one form of language passed to another. not produced. symbols are used as 'triggers' that flood back onto a person. to another paradox. the extreme nature of the intensely personal aspect of this construction is nearly incomprehensible by virture of its facilitation of contact with the 'cause prima' forces in the most positive way. the fear which some quarters have expressed concerning it . for of course. In other words. but it also m. deceit. Although as stated earlier. It empowers an almost sacred impulse: the desire to direct oneself to a higher goal . This is mirrored in the physical construction of the cylinder.not that reported or received second hand.eans that it is at last possible to create within oneself a kind of control that sometimes reposes within the word 'discipline'. And that is. but what we must do whether we like it or not. symbols. And this explains. sparking off personal and unique interpretation that is a real possession and . selfishness and vanity (and countless other appellations) fall away. that all illusion is stripped away. which involves the aforementioned three centres totally. where it existed and continues to exist in regrettably smaller and smaller quantities and qualities. in part. It is anti-control.and encapsulate the problems of expression. In these educative processes. ennabling its opposite.it is a liberator which changes the way we look at the world after lookinq into the Dreamachine . What arises from the Dreamachine allows objective examination of the very root of he or she that looks into it for it means that they must look into themselves. the realisation of that which is common to all life. once more. and bear striking similarities to reports of mystical experience . It relates immediately.
is the notion that what is normally considered to be incalculable. Film is a kind of programme. Burroughs in this area. This is the judicious interjection of the editing table. also in his work the examination of the magical properties of number. though even then. In the body of Gysin's work other than the DReamachine. Dreams. It is useful here to contrast the idea with that of film. as is the tape recorded sound medium. And with the addition of the viewers experiences encountered by the self. the audience sitting in darkness necessitates a certain 'switching off of consciousness. Essential to an evaluation of the Dreamachine is acceptance of the fact that it allows learninq without retracing steps. Gysin (and his various collaborators) initiated in concrete terms the first stages of this process reversing this state of affairs. calculable. tensions and fears that our conscious mind rejects.understanding of a 'thing'. or 'emotion'. Effort is the only money which it is rightfully ours to play with. linear concept of time. representing the standard. there are his collaborations with Antony Batch. and the sort of involvement the 'entertainment' film presentation invites is opened for scrutiny. nonsequential process that cannot be dealt with in any other way than blind assumption of 'fate' as a fixed and given state. as a non-linear. and nothing else is legal tender. By breaking up this linearity by the famous and now almost acceptable method of the cut-ups it is revealed that it is possible to subvert time . or apparently meaningless. The suggestion made the. if this is entertained as an acceptable postulate. There if. (he embodiment of repressed desires. the desires can emerge in disguise as fantasies that are 'innocent'. a link can be detected with the Sufic form of quabalism which Gysin undoubtedly came into contact with during his 23 years in Morrocco. again in the physical construction of the Dreamachine is the 'circular' concept of Time. Again. a programme. if there is a programme. become possible to actualise when the "censor" that guards our subconscious relaxes in sleep or ecstacy. A comparision between a film and the experience of the audience which views it (given the fact that the combination of sound and visual image has infinitely more immediate possibilities for immersion into illusion than other forms by reason of its close proximity to reality than when its movements are isolated from one another). it is possible to see Time as being simultaneous.and therefore the programme and programmer . and as a property of being in much the same way as the concepts of 'weight'. by recorse to these techniques. Perhaps it is expedient at this point to elaborate on the use of the word dream. .that tries at every turn to impose these selfsame limitations implied by linearity. Which brings us to a complerte redefinition of Time itself. a losing of oneself in the fantasy experience. lan Sommerville and William S. so unfortunately tarnished with the implications of fantasy and unreality. 'taste'. Mirrored. is that we can come to the end of a sum. containing and yet releasing in a constanst state of flux. centred. is. In that system. as with other forms of the examination of the world via recognition of the word as a symbol or 'curtain' hanging before a particular vibration. given that this is a somewhat modern malaise. And naturally enough. there must be a programmer. this process wastes time by retreading old around.
The willingness to lose oneself in deceptual narrative and shadowplay is used against us. self-lessly. The creator.by facing their real nature through a real perception at first hand of the nature of Time itself. allowing forces to flow through uncontaminated by personality and ego. the viewers themselves are fragmented in order that they might regain themselves in the act of pulling the pieces together again . and It would be as senseless to try and resist this calling nearly as much as it would be futile. in order that they themself might aspire to justify the appellation.which makes it the cider of a meta language. written or otherwise representative is in any way held onto. It is the state where the process of the creative act surpasses its limitations by being pure.be it spoken. It must be totally given out and away. was the destruction of the 'spectator'. Given that the idea of language is to attempt lo pass experience from one place or person to another. if that emission of information . the opposite of 'entertainment'. (although one must begin somewhere). there comes a point where the creator must give up the 'creation' in the final stages of the process in order that it is truly worthy of the name. merged and indivisible with the created. must become invisible. The Dreamachine becomes. . inbuilt is the very real possibility of failure. but it must be capable of assimilation that all the doors are in practice already open. and at the same time on the other" hand provide an example of the total immersion possible to set an example . deeper and ultimate meaning of the creative act. whatever plane or area this happens to be acting upon or in. then. bringing them together in a totally direct and immediate dialogue . as immediate demonstration of the negativity and abasement of human potential which it represents and involves. In other words. Not only must a person be aware that they cannot and should not rely on the opening of doors for them by others. This was begun with manipulations of sound and image in the films they made jointly. It can be said with absolute certainty that the creation will demand this action imperatively. plunging those experiencing its effects into direct realms of experience where the manifestations are not just those of themselves or an outside party.to show that others may follow through whichever particular door is opened.if ancient references to dreams and their importance are consulted. These are aspects of human beings which are not present at birth. By fragmenting and disjointing the very workings of the linear time mode. and is the truer. starting outside and then coming inside to produce a manifestation of a further state which Gysin called "The Third Mind". It is the situation where the whole is greater than the sum of the individual parts. but are gradually grafted onto them as long as they continue to live in an unconscious manner. Incumbent upon the most effective presentations of this 'setting of example'. It is only we that are closed. The perfection of the Dreamachine therefore. Within the body of any person's work on this planet. is the clear demonstration that it is not merely enough to follow through a door opened by someone else. engendering wordless communication between the normally divided parts of the self. but a connection and collaboration.
Once more. it is stronger. As Gysin pointed out. the effects spread out to eventually encompass the entire head.spiritual energy must be breated into those symbols. objects and events. or if there is something more pressing to do. then all that the viewer must do is open their eyes. etc. so that re-integration can take placed within the self.a tool to be used . Limitlessly. As Gysin found out following more technical investigation of the phenomenae associated and created by the Dreamachine.The Dreamachine fulfils all these functions. With more and more practise. the attitude to the word being a well. the creative act Is intimately bound up with thew amount of connections between seemingly disparate events. these cultures are fully aware of the significance of these patterns as a powerfully reflective focvus for meditation. where the positioning of the head. It begs us to abandon it as soon as possible. machines and exercises. In-spiration. 'Healing' in its essential meaning requires and compels "giving". is suggested here..and therefore that interaction with the world can be sucessfully accomplished .e. to develop the mental.not so with the Dreamachine. intricate patterns with bright colours which are themselves all fully connected.. and unlike the states induced not just by Marijuana and hallucogenics.intentioned abstraction of the world. We must give in order to receive. proximity and relationship to the source.and not in the sense of the prevalent conception. and then the process cyclically re-generating by the response created by the energy/ vibration that emerges from the intiatton of the 'healing' or 'regenerative' act. And furthermore. etc. In order that symbols can be correctly interprested . representation of a vibration. for tyhousands of years the cultures where the consuption of Marijuana is accepted have preoduced cyclical. pulling together the fragments in a supreme effort of re-unificaition just as the act of strengthening a muscle slightly tears it. contemplntion and perception of even deeper meanings behind seemingly everyday occurrences. it offers complete freedom of movempnt throughout these realms. One subjects oneself to the effects of a drug in search of these experiences. and must wait for the cessation of the effects of the substance . i. These same phenomenae are apprehended directly within the Dreamachine. when the Alpha waves in the brain (between 8 and 13 cycles per second) are prevalent or emphasised.When it heals. by using it as other kinds of muscles are developed and strengthened by the use of weights. implicit in the very name is the idea of a machine . controls and allows different intensities and types of vision to fall under the individual's direct control. often in cloth and other woven forms. emotional and ultimately 'spiritual' muscles. allowing the artificially created servant to enslave us.. the . the dissolution of self (but not the destruction) becomes a process of fragmentation in the manner of the cut-ups . The fragmentation of experience into symbols (directly related to the Sufic geometry present in the holes cut into the cylinder) or words.in order that perception can continue to exist and a leap in that perception can take place.. etc. And with repeated viewings with the Dreamachine. If the vision is found disagreeable (not one case of this has ever been recorded). longer and deeper 'exercise' with it. as in relaxed states.
is caused by the phenomenon called "phasing". a discovery was made that brings another totally fitting. all extant examples of the construction were encased in a clear plastic screen.. By acceptance of the often underestimated power of human perception rather than a condescending 'tutorial' re-inforncement of negative or self-limiting aspects. and finds correspondence in one of the quabalistic versions of its name. but just as with the physiological factors. at the present time.the 'letting go' mentioned earlier . The higer a frequency. It is one of the most puzzling aspects of this evolutionary spiral that Gysin himself did not publicly investigate this application or addition. It is the complete absence of the attempt to define which facilitates this. It gives the greatest freeedom. Sound. The initial sibilances are at the extreme end of the possible frequencies capable of production by the human voice. But the option still remains at every point to disassociate onsplf from whatever is occurring. i. This is not to suggest that he was unaware of it. save for his use of the sacred music of Joujouka in simple combination with his viewings. "The Womb".immersion becoming more and more complete. meaning is truly grasped in the act of personal exploration. At first a puzzle then a creeping awareness of the implications dawned. A conversation was underway between the individuals concerned. this phenomenon was denied manifestation.e. indicating and pointing. And so. the audio signals which are slower than those of light. are more closely connected with the purely physical aspects of the person. as has been said before. and what is perhaps the most important and yet the most difficult for any creation to achieve . and the additional complementary effect to that which normally occurs in the Dreamachine with only the light source. By refining these frequencies involved so that the signals correspond and fall into phase with the Alpha waves too.to be wholly incorporated into its being. By 'speaking roughly'. but also unexpected dimension into the proceeedings. was that the rapid alternation of the sound (as with light) was only directly perceptible by the person emitting the sound. Even those persons sitting close to each other were entirely unaware of what was occurring. It ties in with the organic levels. It was found that the fluids within the cochlea are most strongly sensitive to the frequencies within the range described above . the Dreamachine succeeds. But one of the most interesting and directly functional aspects revealed over a period of study and experimentation. The sound is rapidly alternated between each ear. is vibration at a slower speed than that of light.the exact same as the Alpha waves in . This is linked with the operation of the Alpha waves coming into synchronicity with the audio and visual waves or frequencies. affecting both the inner and outer ear. But until very recently. directing in an approximate way. the greater the precision of spatial and directional information contained within it. and possibly the most important area of progress is the bringing to hear of sound on the possibilities offered by the Dreamachine. ostensibly to protect the viewers nose from potential lasceration by the rapidly revolving cut-outs In the cylinder. the firing of neurons (electrical activity at the root of matter). further exposition is underway. and a strange effect on the siblances in speech was noted. Whilst grouped around a Dreamachine. it was found that the range of expression and possibilities for 'travel' were extended a thousandfold.
to be reflected. but quabalistic: influences to permeate and inform further development. Therefore. the completion of a cycle. its properties of affectation on the physical planes. It should also be noted that these fluids are closely connected with a sense of balance. vibration as emitted by a human being as symbolic of events and ideas. And still the process is not at an end.in and out. This development is not only in direct lineage to the creation of the Dreamachine and Gysin's work (many times within it are direct encouragements not to let the initiative of explorations within the suggestions within the suggestions made to stop there). but equally applicable to narmal playback through speakers.the brain. that is. work began to maximise the possibilities. its conception as proceeeding from the 'Divine Breath'. By releasing the Dreamachine from the confines of Art Galleries and making it available to as many people as possible.it incorporates in an even stronger way the more spiritual aspects by the involvement of breath. but is. The very act of this infinitely variable procedure by the individual furthers this interactive range of the parameters. By the use of filtering systems. And not only this . Using the experience gained in the approach to dealing with the word. but extended. capable of transforming and intiating further creation of events or ideas on all planes. many hitherto unexperienced effects were brought out Into the open. and cut-up (and phased). the sense of balance is somewhat confused. fluids and other parts of the endocrine system. it is hoped that experiments with magical . The recordings are now. fully integrated with all the aspects of interaction and utilisation of the Dreamachine experience. and the inner and outer manifestations of the Dreamachine. resulting in the stimulation of various glands. when two signals are constantly and almost simultaneously moving towards and away from each other in wave formation at the same time. It mirrors the light's involving and evolving movememnts. it corresponds with the inner and outer surfaces of the machine (the insides generally being decorated with calligraphy stemming from Sufic influences). that is. These sounds are made from without the cylinder and travel inwards. Light comes from within the cylinder and goes out. as here presented. which is by its nature two-fold . Once this realisation was fully grasped. The way in which these recodings have up till now been treated involves the use not only of the technical areas of connection with the physiological minutiae. when this phasing occurs in the audio spectrum. and the power of the word. the word is dealt with as containing in its vibration a part of that entity. alteratyion and further refinement of these audio phenomenae (quite effective in themselves) recorded through specially modified microphones placed so as to (create a variant of the well known binaural technique. It is further related to the word. to wit. in a very real sense. These recordings were then processed and layered to amplify and capitaslise still further on the physical affectation properties. The last vestiges of any impersonality (ruled out by the arguments and evidence presented above) are removed by the personal input of the viewer on the physical plane.
The Dreamachine is a self-less creatioon intended to be used as a vehicle. the prison that is generally taken for freedom. It demands the greatest courage that we must accept that we must give. it provides us with a way of seeing that the struggle to further and further isolate ourselves from everything and everyone is doomed to failure. from the outside to the inside and back again endlessly. like thee trails ov a serpent on sahara sand. in . This is then a point of contact with ourselves and everyone. It tells us what is possible in the most direct way. Regular. That it is possible for a person to create a vehicle of such utilisation by and for the transpotation of others.that is. Bleached bone spoke ov thee snake way ov day.meaning the investing of) images with energy in order that they may serve us as tools . but allowing the possibility to see that it is encumbent upon us all to recognise it as a metaphor.means that this is in direct opposition to the making by images of us in their own image. A. That there is a higher and more truly creative form of 'imagination' .M.we therefore recognise that we must create that which is our own. There was a time zone long ago when feet struggled across blood biting flint. Then it must be risen above . Each bended knee..McKenzie December I988 Amsterdam Revised from 1986 -oOo- THEE ONLY LANGUAGE IS LIGHT In thee search for signs. will be investigated by the user/s . It provides us with a way of looking at what is wrongly named 'imagination' -. on a ourney that simultaneously arises and returns to the source of its genesis (which is ours also).thus going. as the Dreamachine itself does. It reveals and then rends away the veil that keeps us where we are. Its 'provoked accident' cuts out mercilessly the pernicious weed that threatens to choke us. individuals see directions.effect of the calligraphy with the cuylinder. wrapped in animal skin. but never without the corollary that we must make these into REALITIES (another negation of illusion).ill picture thee flow of life as it was then. by our own efforts. you w. must be INTUITIVELY grasped. And finally. that can in turn be used by others. different sounds and other stimulation of the senses etc. If you imagine a small child with a long ribbon. flicking their wrist sharply at each extremity ov position fluidly in thee central space.
thee same process can occur. We have described many. a frame a threshold to travel through in light. and everything was permitted. There is a spinning ov equality. sees what has passed. Time is that which passes. no snake-like calligraphy. gives us hope ov power. elbow cricked for support. It is. In thee desert. ov course. Bleached bone spoke ov thee snake way ov day. Light measured by Time. a frame . Our arms reach out to hold it. THEE ONLY LANGUAGE IS LIGHT In thee search for signs. all life dances on thee pitted stone. thee reverse: thee mirror painting pictures at thee edge ov our We have described an aspect ov blinderness. Thee point ov Intersection between sky and earth is shimmering. body. allegories. We have described one aspect ov evolutions. High on a tower thee Oracle faces thee . These coum from thee simplicity ov looking. It is. We shake our matted manes and feel anger. and to light. thee essence ov what we are. We have travelled through Time in a few lines. We see thee Sun. Not clear. It seems so small. you will picture thee flow ov life as it was then. Arising. Hand raised to shield eyes. wrapped in animal skin. Each second we observe tells us stories. Fire reflects thee Sun for us. Outside out circle. Our boar like grunts sound raw. ov course. marks that have no flowing pattern. We have travelled through Time many thousands ov yeras. Not clear. Within our circle is thee energy. parables. body. flicking their wrist sharply at each extremity ov position fluidly in thee central space. Thee Sun is behind everything. Butter we have accepted loss than everything. Time is that which passes. Hand raised to shield eyes. emotions and spirit. to scan thee four directions. emotions and spirit. From ritual wandering towards words. We have drawn thee failure ov sight. Regular. Thee point ov intersection between sky and earth is' shimmering. thee fingers ov thee Left hand create a flickering movement like a Venetian blind. individuals see directions. As we sit around our cave fire. Between this point on thee snaking ribbon and thee next. we do hold fire in our arms. There was a time zone long ago when feet struggled across blood-biting flint. to scan thee four directions. If you imagine a small child with a long ribbon. into language: all ways ov closing down our basic nature.thee moisture preserving layers of nomadic elbow cricked for support. Mind. we have no sense ov perspective. There is a spinning ov equality. thee fingers ov thee Left hand create a flickering movement like a Venetian blind. like thee trails ov a serpent on Sahara sand. like a knighted Templar. thee stolen Sun. sees what lias passed. Each bended knee. like a knighted Templar. Mind.a threshold to travel through in light. and to light. Arising. We have been losing things as we converse. wrapped in thee moisture-preserving layers ov nomadic survival. These coum from thee simplicity ov looking.
we fenced in Time and then stopped breathing and spoke murdering ourselves. curving in slow wave forms that feel they are light itself. so below. This is no idle word play. A firm hand grasps our ribbon. pours forth. or even. Thee Light was thee SUN thee Sun symbolised Life Spirit. we became distanced from individual access to revelation. Language. what a mystic might label a 'KEY'. Takes it from us. These are truth. This person knows through many acies ov wisdom that thee Sun can never be held. no trap ov language. this motion measures rime and Light. butter it can bf harnessed. quite literally. and travelling . spinning. not speeches. apparently couming from within this in visible circle. not what life is.where all dreams meet. yet directed. Stands outside Time. Thee spinning ov Earth. And our gift ov individual vision often died with it. Not trying to reach it. butter most importantly. We placed thee Sun outside life. As obseivation became a profession. a circle. through all thee direclions. a hand stretches out.Sun. we saw life as finite. now became power: and in our terror. a galaxy. Yet we are all ways moving away. that which ends. all energy rushing outwards. and its light went from thee Sun to us. Thee Sun now "kept us alive".irs any resemblance to any thought that can be conceived. and pointing. It is. not an IS that be. NOW = a state ov Present lime only (also known as Zero Time). so we put ourselves in thee centre ov our reeling implosion named Civilisation. Cold in thee night. Cloudy ectoplasms ov blue light collect around thee centre. Faster and faster. We are looking at LIGHT and TIME as thee twin facets ov BREATH. reintegrates. And this picture exists precisely in that dimension we tritely call NOW. Our breath that had now becoum words. Thee ribbon seems joined. It gave us Death. Our mind can travel upwards. a simplicity unfolds. This picture is just thee way IT is. you will see what IT IS. not discussions. We became obsessed with Death. We are a travelling Spiral. Placed at thee centre ov this picture we are seeing. Not what you are. thee couming and going ov our Light became a measure ov that which passes. Fingers spread. that which moves. Thee place . stories and dreams. downwards. butler IT it�elf. These are pictures. Our energy flying up to thee ribbon ov Time and flashing off thee end with a crack. Vet only truth reflected outside thee circle. this spinning column. This implies ZERO memory and ZERO forward projection. Takes History itself from us. round and round. it is a 'MAP' ov a factual process that serves as a bridge between loss and retrieval ov a state ov comprehension that in its purest sense is where 'ART' remains hidden. We have described thee process. clockwise: free. it ran even speak. A particular frequency is reached. Eyes closed to thee light itself see more than words describe. This being begins to spin. a quite different animal to words. As above. "to me". we began NAMING. In fact. thee wrist is fluttered steadily. If you go outside your 'SELF' and look down at this picture. them to paint a picture ov thee beginning.
Thee only story is what you are thinking 2. to Light. thee Oracle. to interpretation ov transient images on cave walls. Linear language is thee most corrupt messenger. It is no accident that these encoded truths are preserved so often as pictures. Thee re-establishment in thee individual ov a permanent state ov Zero Time. The only aim is not thinking. Quaqueversal. and "The Trial Of The Templars" by Ann . In a distant cave. to File. A position ov ZERO separation and TOTAL integration. The only telling is what you DO as you are thinking it. between "Pursewarden's Incorrigibila". For a picture is Light. Sandwiched between "Pursewarden's Inconigibilia". -oOoIn October 1966 an almost square. Thee point where thee animal spirit and thought spirit separated. In this exercise. religions. to Language. to Naming. We are also retrieving our original position in consciousness. 107). or picture stories. to Sight. are now where they reside. thee Seer. It was called "The Best Of Olympia" (No. only thee expert can tell which direction is couming. Thee search ov High Art and High Magick has been for processes ov retrieval. 'thinking' actually means any neurological activity that is in no way conscious. Thee moment At this moment. that wo are in no way aware ov. to Power. 3. thee knowings which were contained in states ov not thinking were encoded. as if metaphorical light. Across thee mountains. Thee snake reposes coiled. Thee myths. TOPI EXERCISE : FINDING YOUR PICTURE or SIGNALLING 1 . It is no accident that these encoded truths are preserved so often in heiroglyphic. spiralling outwards. olive green book was published. As we scoop up thee grains ov Time and squint along both directions ov thee snakes ribbon trail. not going.outwards in every direction simultaneously.cut off.or. Zero Language. allegories. painting sorceries on their temporary cave shelter. From Sun. Zero Thought. From heirarchy to word. Beneath thee wrappings that preserve our spiritual moisture in thee present Desert is thee coded message ov location. individuals are wrapped in animal skins. calligraphic and permutational scripts. Where consciousness exists within its own planes. and "Frankie 6 Johnny (New Style)" by an anonymous profaner . thee Shaman. From separation to inauguration ov heirarchy. in order to facilitate coumpletion ov reintegration. legends. our back to thee source . a tiny is sewn in bloody warm skins to dance thee sacred dance ov Pan. 4. This is our ZT. We have forced a dualism upon ourselves Yet that is not how IT is. The only result is communication.
nor should there be.. if they believed what they saw was actually how things look? These realisations did not coumfuse me in thee least they filled me with joy. at thee very least. if one wishes to bend thee truth for a more romantic perpective ov history . Vision. stimulate and excite me. Sound. there is only an infinite state ov change and flux within which we ourselves flow as pure instinct. They were in fact nothing ov thee sort! They were EXACT representations ov EXACTLY what was there. 23. Yet this same device did so. On pages 21. therefore. A "Best Of. . Travelling through an avenue ov trees ". Triocchi. plus that ANY ov these qreen publications would challenge..world ov consciousness and life itself. and Art as a label for thee micro. blurred. Most ov these books were published by Olympia Press in distinctive green covers. or flexible information. In my endless quest for forbidden. and.. it seemed more likely that Art was internal.re. That there could not be.an overwhelming flood of intensely bright patterns in supernatural colours exploded. E had discovered thee 'porn' shops ov Soho were my best bet. snuggled between "Bare Buttocks" and "Hard Whips" was instantly snapped up. Thee intuitive areas ov my "mind" triumphed. There was and is no fixed movement. 1958. it released this storm ov visions whilst thee eyes were closed. E came to trust to thee premise that thee odds were 95�. thee word 'separation' is synonymous with 'Death'. triggered in thee brain ov thee participant an intense psychedelic visual experience. colourless illusion ov a world its describers felt no real engagement in. One was titled "DREAM MACHINE" by Brion Gysin. 22. France on December 21st. Almost simultaneously E added a 'K' to indicate thee inclusion ov focussed sexuality as a key process in all this.. on thee expansion ov all my horizons. A flat. Thee boundaries between Art as an expression . and Ableman. any separation whatsoever between Art and Life. eyes closed in a bus going to Marsailles. and a search was on for a kinetic form ov Art .. In fact. Thee "DREAM MACHINE" book came to me as nefariously as many others in those da. Sellotaped to my Dansette record player in thee loft ov our home. like many others. Thought. forgotten. It was there that E aquired Genet. Miller. "FLICKER". EXACTLY what thee artist was seeing. state ov matter. E have since learned that in North American Indian culture.". E built a model DREAMACHINE at home. utilising only thee wattage ov a domestic record player. E understood a great deal about certain types ov apparently abstract or Psychedelic Art. E looked. still more unlikely. to say thee least. thee other. They were maps (if you like) ov what we unimaginatively dismiss with thee dull word 'reality'." At school in 1966 and 1967. Brion was dozing. all seemed equal. Burroughs. within a macro-world. It seemed quite clear that thee nature ov everyday pictorial media was way off thee mark.were two short articles. & 24 were illustrations ov thee earliest prototype ov coumthing quite extraordinary.a transmedia exploration ov possibilities. were. by lan Sommerville. as exploration followed exploration. E was experimentinq.. E soon realised thee possibilities alone are endless. confirming that thee inherited word for what was trying to grasp was a rather vague notional one: "Magic". or level ov reality.Pederman. Thee legend is now folklore among cognoscenti. How could they. A simple-toconstruct device that.
that is. At a certain point. etc. project this metaphor ov Alchemical Inner Space into a mission to literally. This led me to investigate so called Primitive cultures and their methods ov description and explanation ov "reality". E conjectured as E stared at thee multi-dimensional kaleidoscope. or have had. Ov course they are triggering thee release ov endorphins in thee brain. So a Jackson Pollock painting is not abstract. In 1980 E met Brion Gysin in Paris after a long magickal courtship. and all that must be left is thee space between.and expressed through thee purest language ov all. Light and Space. that more than anyone could articulate was implied. or body. And this space is traversed (and perhaps bonded) only by enerr)y and or light. imaged and revealed not just thee essential internal nature ov Art. That each point ov matter is made up ov tinier and tinier pieces ov matter until they cannot exist at all. These can generate LSD-like 'highs'. these museum pieces stored as obsolete. So different from thee original prototype. It was encased in perspex. What E later discovered could be -termed 'consensus reality'. intuition. They probably do also open specific key metaphysical and actual pathways into quite different dimensions ov Time. E could go smaller and smaller in subject matter stared at . then neutrons. E had not used a DREAMACHINE for 13 yeras. GO! There was no doubt in my mind. seemed to grow further away from Truth. In fact. it. E found and learned to play singing bowls and bells. nothing pictorial can be in any way an accurate description ov any reality. and an illusion ov mechanistic power over its enviroment and destiny. or terminate headaches. they are coumtimes said to split thee head ov a demon. To coin over used phrase that still hold true: Inner Space exploration mirrors Outer Space. objective or cognitive. Religion. These threads merge. Thee most perfect so far. Thee very fibres ov thought are IT. As a metaphor alone. whom we have also had thee privilege ov knowing and exploring with. A consensus reality that was accepted unquestioningly by a majority ov humanity. E sat and used his high tech model. physically. on all levels. thee more a society claimed to develop civilisation. by precise and minute manipulations ov frequency and pulse. When their functions are verbalised.. etc. or banish spirits.E would go down to atoms. it is an unspecified perspective ov a point ov Time and Space that may or may not have. spoke wordless accuracies. butter effective . and we had thee sleek silver Space machines powered with thee latest engines and fuels in order to take us further. intrinsic and integrated in thee Dreamachine. butter E had not forgotten its lessons. It is no accident that these two sciences are running parallel. Those Scientists and Artists working on thee Biosphere. Butter more amazingly it literally described. that day in 1980. Therefore. in turn. A consensus reality that when it alluded to this banal acceptance too painfully. butter . And yeras later.to prove thee premise and power ov thee exploration. E found more there. nothing exists at all. Brion is oft quoted as saying that we are here to go. Thee motor made by a Swiss watchmaker. that made sense and worked. In Tibet.so crude. faster and deeper into infinity. whilst all things appear to exist. Thee first rockets . it was usually ascribed to religion in one form or another. Here we were in Present Time. an element ov matter to it. It was akin to thee space programme. we do not need to be instantly coumcerned with here and now.
Eyes. Light stimulus still came from a domestic lightbulb in thee centre.O. faces. she looked elated and exhilarated. (Thee Temple Ov Psychick Youth Nett-Work) we carried out many investigations ov our Dreamachine. Alaura asked to use Brion's DREAMACHINE. Coumtimes two.P. They are thea residual pictures we find where our particular species originates from. or what theories E personally coumfirmed via it. crosses. It was quite real. not thinking. she saw quite amazing psychedelic patterns. their feet resting coumfortably on thee circular case. Not long after this. then fixed thee Dreamachine to a circular base on wheels. Coumtimes individuals would use it alone. she said. and robust enough to be transported to appropriate rituals without damage. but that they are actual places. Five seats could be arranged around thee whole unit for viewers. lucid dreaming and other processes. First. she has been able to travel there via TOPI rituals. in coumbinations. E sat. if anything. Thee split between coumplete ignorance in advance and coum prior knowledge was almost exactly 50/50. My bonding with it was almost biological recognition. On another visit in 1981. She came to it intellectually clean. following Brion's instructions. co-existent with this particular TIME Zone. implosions. It was just like having her eyes wide open. During dinner that evening. All ov this work is being collated and evaluated privately. After a while. built for serious ongoing research and travelling. After she finally stopped looking and opened her eyes. Thee motor he used could run clockwise or anti clockwise. He cut each hole out ov sheet aluminium laboriously. We experimented with sexualities. It was a mysterious and novel item. swirling spirals. Coum individuals had heard ov thee Dreamachine and its claimed effects. Looking.ov magick and consciousness too. others had not. we asked her what she had seen. . A desert type ov lanscape. pyramids. Alaura and E scraped together coum money and coumissioned a close friend and individual John Gosling to build us a Dreamachine large enough to be used by several TOPI individuals and allies simultaneously. Alaura sat motionless. bright colours constantly changing. WR viewed this as a potent magickal laboratory. lost within its atomic sensibility. we circulated thee plans throughout our network to thee extent that several hundred individuals are researching thee cumulative effects ov Dreamachines. E had never discussed in advance with her what it was supposed to be or supposed to do. not thinking. She sat there for about an hour in silence. Males and Females separate. outside normal time. My understanding ov it was pure and metaphysical. In thee later stages ov this period.Y. butter this was thee first occasion she crossed thee threshold into awareness ov these levels ov actual reality. suddenly she slipped through through this maelstrom into a hyper-real landscape. During this period too. coumtimes permutations up to 5. Since that time. rather like thee surface ov Sirus in lucid dreams. not autosuggested or primed in any way. children. and approximately 100 are incorporating them into serious Magickal rituals on a monthly basis. It must be made quite clear that these are not illusions or hallucinations. eyes closed. butter having travelled into another Universe or state ov being. Brion put on thee music ov Joujouka and turned on thee 'spinning column. Floating towards her and past her line ov vision were archetypal symbols. During thee first seven yera public cycle ov T.
patient. showing a backwards regression through human evolution ov skull and face shape from thee 1980's. The rest ov us were seated coum feet away. what does this phenomena imply generally. We had never dreamed that thee Dreamachine could create physical phenomena so potently and clearly. All those described were witnessed by non-aligned casual visitors who saw. Cheryl pointed to Caresse. These are briefly described below. until our friend Cheryl nudged Alaura and E urgently. until she looked like one ov our ancient ancestors must have looked. As she coumtinued to gaze. What we saw was quite unlike anything we have seen before or since. eyes closed into thee flickering Dreamachine light. even accepting there was a physiological possibility ov HOW it occurred. and faces. Immediately after this transformation. eyes closed. butter physical and concrete enough to be exciting reinforcement all thee same. She said she was not frightened at all she had seen amazing colours. Thee nearest parallel was thee film "Altered States". There was no other source ov illumination in thee room. experienced exactly thee same phenomena as we did ourselves. and NOT a trick ov thee light. Caresse's face was physically changing shape. Her face began to look more and more beatific. we whispered to each other how still and concentrated Caresse was. and our sitting around its flickering light. her face about 6 inches from thee Dreamachine surface.We explained that she had to be still. and not to lean into it too far. Thee question remains: why would this occur in a non-pre-primed 4 year old? Also. muscles tightened. It was very strange. To us. Bulges appeared. and about thee Dreamachine in particular? We saw thee equivalent ov an animated film. Presumably this phenomena can be explained as an innate butter rarely seen ability ov thee facial muscles to drastically alter thee physical shaping ov a face.During this period we have also noted coum quite unexpected phenomena. -oOoCaresse was four yeras old. little smiles ebbing and flowing on her face just as they might if she were watching a cartoon or fairy story movie. After a few minutes. all thee way back to approximately Neolithic early Humankind. After about 20 minutes our attention had ebbed. Caresse sat crosslegged on a chair. if there was any. heard. she said it was "too beautiful". places. felt. for several ov us observed it. Thee music playing was Joujouka. or it would hit her nose! She agreed. they were all confirmation ov what we already knew. It seemed a good check on our level ov self-delusion. E asked her what was thee matter. travel through Time. One evening she asked if she could use it with two friends. her face became gradually more and more Neolithic. Whatever she was seeing was certainly pleasing and occupying. We saw Caresse. Without a word being spoken to us we could see why she had redirected our attention to Caresse. We saw corroborating evidence ov thee theory ov gradual evolution ov our species. Normally. We had expected her to fidget and get bored. quite literally. and moved closer to be sure. She said she liked thee . This was thee first time it had occurred to us to allow a child to use it. She had grown accoustomed to thee Dreamachine in thee living room. these neutral visitors were more suprised than we were at what occurred. then animals. as E got close to Caresse (about 2 feet away) she opened her eyes and started to cry. watching and relaxing. She was quite clearly entranced.
We have no explanation for this at this stage. Left over right. It felt as if it were intelligent energy. modulation. modulating it at different frequencies. Linking hands definitely increases apparent telepathy within a group. E suggested to Alaura that she copy this effect by breath projection on thee Dreamachine.Dreamachine. During one early session E intuitively began to whisper. and not malevolent in any way. that E was more able to control thee visual images E was receiving by thee variation ov breath. It was random chance (n. Because our large Dreamachine is robust.McKenzie in this area. She pointed it out to me. nor did E wish to. This is Jordi Vails ov 'Vagina Dentata Organ'.b. frequency and depth. Transmit. it disappeared. Regular circles ov this type generally have a cumulative telepathic and empathogenic effect ov varying degrees on all individuals ov such a circle. receive. E soon noticed. very spectral. 'freezeframe'. E could 'hold'. We do intend to when logistics ov life allow. Female or transexual. We wished that we could tell i Brion. it has no outer perspex shield. There appears to be no difference in sensitivity between Male. It is a coumpletely new development and extension. . We have not yet tried him a second or consecutive times on thee Dreamachine. though E could not. -oOo- . butter she didn't want to use it agen for a while. coum through our closed bedroom door and settle over our bed. E opened my eyes and saw it also. though they felt a little odd. Alaura saw a blue cloud. We have coumpared notes afterwards ov FIGURATIVE images seen. Utilisation ov breath has since becoum a standard procedure for all users ov our Dreamachine. She found that it expanded thee possibilities as well. On many occasions we have had a circle ov five adults around thee Dreamachine holding hands. Overall brightness tended to increase also. exhaling quite forcibly. My excitement was initially at thee novelty ov this extension ov possibility. A friend sitting in thee room said later that they had seen a blue light around thee top ov thee Dreamachine. however. and almost zero animation ov any kind. using precise recording and layering techniques which are documented elsewhere in this package. loosen and shatter images. The effect ov thee aluminium cut-outs spinning so fast is that it "Cuts-Up" thee sound ov thee breath. We knew he would be pleased and fascinated. They assumed it was a hallucination. This stays for a few hours. who had died."How Random IS Random?") that practical expediency in choice ov materials led to this discovery ov thee sonic qualities ov Dreamachines. Thee levels ov exploration since developed in coumjunction with Andrew M. making a "SSSSSSSSS" sound. After a few minutes. control their content. She seemed to sense coumthing powerful had occurred. Only one individual has claimed no real result so far in our Dreamachine experiments. We retired to our bedroom not long afterwards. One day Alaura and E were using thee Dreamachine. He saw only black and white. ov this further reinforcement ov thee magickal potency ov his discovery.
-oOoIn thee beginning was light. if and when articulation through language is enforced upon us to encode "Holy" knowledge. neurological equations and powers. every incarnation and ancestor. is an opportunity to observe thee History and meaning ov thee Universal Light. ov what once was light. genesis p-orridge Brighton 23 July 1989 Era Maximus (rising) -oOo- . non-thinking begins. Within this system are coumtained all archetypes. or ov Science. and this is mirrored down to electron microscope images ov thee structure ov matter and genetics. and which is received and then earthed by thee pointing ov thee hands up and down from and to thee Earth IS this Light/Energy. Thee Dreamachine can generate physiological manifestations ov these altered states. or hciroglyphic script to find your picture for thee most essential and wordless coumcepts. Thee metaphorical significance ov this map is profound. It is a model ov creation. It can call out that same blue light mentioned in high Egyptian magic and in Sufi texts. Light spinning created energy. It is a model ov thee internal Universe. it is a way in to every simultaneous aspect ov reality and unreality. Thee Dreamachine is an invocation. accessible to every individual to their own degree ov absorption. Where language ends. in a pure state ov receptive non-thinking. every picture ever seen. Thee same energy Dervish Dance calls out. or redefine thee exactness ov applying Arab script. Thee Dreamachine can quite literally INVOKE. their prophecies guiding destinies. Thee Dreamachine can facilitate 'lucid dreaming' outside thee normal coumsiderations ov space and time. symbols. This plan ov creation does not just apply to Art. thee destroyer ov dualism. every surface ever magnified. Butter what it is hinting at is a finding ov a picture ov thee keys ov thee mysteries.Coumclusions. just as evolutions have to be for all. that we belittled and corrupted as Gods. every Threshold and Abyss. no more no less. pre-Gods and post-Gods. Whether it be actuality or allegory. and Life measures Light and Space to create Time. creating waking visions by thee cutting up ov sunliqht with their fast moving hand across their eyes. energy spinning created an implosion that created galaxies ov light spinning. and. just like that ov an oracular seer on a tower in thee desert. Thee galaxies spinning in spirals create Space by their presence within infinity. Magick is for all. UNDERSTANDING unravels (Thee Snake Ov Time). Light and Space generate life. Thee Dreamachine is a practical process ov accelerating Empathogenic bonding within groups working in psychic territories. and thee means ov travel within and through it as far as we dare venture. Thee Dremachine has acoustic abilities that reinforce and expand all thee above and any individuals control over them. thankfully. This may not fit thee accepted coumcepts ov thee Creation.
I can dispense with artificial stimulants. is the attempt to penetrate the wall of contradictory information.some aspects of Brion Gysin and suggestions for use "Do not look at my outward shape. That is why I have chosen my own particular world . Sherlock Holmes One of the most fascinating aspects of the ancient art of Quabalism is the intrinsic functional possibility to take a word in any language.BACK IN NO TIME . my name figures in no newspaper. but take what is in my hand". and more importantly.the only legitimate barter system available In the spiritual and truly creative life of a human being. give me the most obtuse cryptogram or the most intricate analysis. payment in kind: emphathatic reckoning . and I am in my own proper atmosphere. Rather than the contemporary demand for all things everywhere to be instantly available for mass consumption on a plate at the drop of the proverbial hat.give me problems.I claim no credit in such cases. rumours implications and ego-based supposition by others surrounding the manifestations grouped around the heading 'Brion Gysin'. and on hearing it spoken. It is detective work of the highest order: the travel through a symbol originated independently of the traveller. it involves payment. The work itself. but I abhor the dull routine of existence. the pleasure of finding a field for my own peculiar powers. It would certainly not be innacurate to assume that all of the above complications and mass of confusion was at one time or other directly or seemingly indirectly encouraged. involving the integration and orientation of that person in uncharted territory by recourse to their own capabilities. initiated . give me work.without any previous knowledge of that language. then to convert it to whichever matrix suits the form being practised. and moreover. intuition. Jalauddin Al Rumi "My mind rebels at stagnation . is my highest reward". How similar and interrelated then. and then to be able to discern its meanings . or indeed.
whether initiated or not. It is created by and encloses these two starting points of any and every manifestation in all worlds. This is the circle which is formed by the rotation of one point around another. "Tarika". Thus. dance. What is perhaps more important is the fact that during his 23 years in Morrocco. it can be revealed and can be realised that the tradition from which much of Gysin's work springs and is continually informed and fed by is cloaked in this concept of invisibility . for the most part. which regards itself as chiefly concerned through the particular disciplines special to each region. as dealing with the journey from the outer circle (Tarika) back to the central point or axis. in order that they themselves may aspire to the justification of the appellation. This is mirrored in the symbolism contained and presented within its textiles. through the use of ecstacy. come round for private lessons. serving both to remind and influence the 'recipient' on viewing. a certain vestige of that smokescreen. throughout their long history. the circular movement has very great significance. planes and modes of existence. at the very least. must become invisible. as they often interpreted by Westerners more used to and aquainted with the more static forms of spiritual contemplation. and is named within the terminology of the religion. The philosophy (incidentally looked down upon by the orthodox forms of Islam) has no name unto itself. These are the creation of fields of energy described by the sacred geometries running through the above mentioned implementation of patterns.namely. And so." As so. patterns lining and decorating its Mosques. "If you want to disappear. is the often unrecognised fact that these people are. These are all of intensely practical intent and purpose. whichever plane or area this happens to be acting upon or in. the third that is created whenever two points are present. Sufi's.stemming directly from the rejection total and absolute of idolatry that is built into the foundations of Islamic law. breath control and the highly developed practical application of the effects that it is possible to . part of the 'inner core' of Islam . in daily contact with what may be termed 'The Devout' (but again. Even at this first point of departure is the striking feature that they themselves have never. merged. but a means of total liberation from just these forms. not necessarily seeming so). this present set of examinations will seek to preserve. The creator.by the man himself. and is incorporated into the basis of the liturgical celebrations associated with Sufism. towards ever more deep contemplation of higher realms. there comes a point where the creator must give up the creation in the final stages of the process in order that it may be truly worthy of the name. These are no dances of the profane." Within the body of a persons work on this planet. and so on... "What does not grow out of tradition is merely plagiarism. and indivisible with the created. There are many forms in the actual practise of Sufism. referred to themselves by this name.
His painting. in the Sufic train of thought.as if it were possible to separate this imagined entity from all the rest. Easy. rather than trying to create that which is already there. He relates how his grasp of the meeting place of words. once again.. Unlike earlier sects and religions. by the distillation of that essence into the symbolical world returning form into content in direct opposition to centuries of effort on behalf of the contrary motion. therefore. spoken. the genesis of the magical act. . They are then part of the avant-garde of the reformism of everyday life. The word 'Q'ran' itself means 'recitation'.f. but it can be seen as a kind of door through which one may immediately walk through to visit realms of the self in their state of being connected with the 'universal Self. What 'cults'. bears the imprint of this essential message of that which he was dealing with. that is. both musical. It is the paradoxically opposite state of the 'letting through' of forces. It is the letting loose of the stagnation that we mistakenly believe as capable of providing food. For this was the transmogrification of the real essence of things in their complete aspects.create in physiological terms.involving and neccessitating the creation of a state of ecstacy by hyperventilation) . effort. modern mystical movements are predominantly anti-guilt and anti-sacrificial. in order that it may travel from one state to another and achieve the intended corresponding sympathetic vibrations in the other matrix to be eventually 'decoded'. And not only this. "He who runs may read" The very act of the encapsulation of a vibration (the essence of all matter) into a printed or written form involves. It is. as well as e. This involves on the part of those exposed and those wishing to interpret correctly. but hard to allow. invested with 'spirit' (c. But effort that is at odds with the standard meaning) given to the word in recent memory.g. the 'Growth Movement' ultimately sell is a sense of belonging through the consumption and participation in a 'whole way of life'.and so made flesh. a portal which must be entered into. and architecturally engineered. and this of course is immediate verification of the recognition that the word is a living entity which must have at all points energy invested into it by the aspirant 'communicator'. ink and paper sparked off what was to be a lifelong experimentation and research into the written word and its transformation into experiential 'being'. the chanting of the divine name ALLAH . focussing on his or her daily experience and its supposed enrichment. This finds essential correspondence with Gysin's work on reading his recorded and transcribed explantation of his first contact with the conscious ritual of fixing words on paper. A kind of payment with being. on the surface level which it then claimed to be able to move inwards from. of the vibration of sound. stemming from his enforced learning of the Japanese language whilst on military service. They are mainly concerned with the development of the 'individual' .
Nevertheless. Collective organisations seem so essential today.People are no longer being sold 'things' (which one would of course expect. shields for the timid.. and in the end it becomes stupidifying. and more importantly. often mediated by high-energy. that to oppose in the name of individual autonomy almost every organisation's structure and illusions as being somewhat distorted mirrors (without the possibility of travelling through them) of the dominant reality. dependence inducing.: just one more terrain given up without much of a fight. a land of promise for disillusioned vagrants and weary pilgrims. etc. However. such as membership of organisations supporting the use of 'isms' and so on. In the secret society. beds for the lazy. a herd and safe fold for sheep. it is just one aspect of the 'revolutionary movement' to have failed to have hardly experimented with diverting the techniques and knowledge (however illicitly gained) to radical use.body. the individual is still relying on a collective organisation to effect his differentiation for him: that is." The major upsurge of these movements occured during Gysin's The major upsurge of these movements occured during Gysin's development . he has not yet realised that it is the individuals task to differentiate himself from all the others and stand on his own two feet. "Guerilla Conditions. the personal liberation being sold. are crutches for the lame. Each scene remains closed and enfolded in a vacuum. a home port for the shipwrecked. despite certain genuine attractions and possibilities amongst some aspects of these organisations remains ultimately frustrated because of its narrow.. and readymade communities. appears as megalomania or simply hubris. and a Mother providing nourishment for a kind of growth. that the starting point of the 'transformation' begins at the point of contact with the so-called outside world) . whereby 'individuals' seem to dominate the proceedings and centre of interest. nurseries for the irresponsible: but they are equally shelters for the poor and weak. if we assume as above. 'Middle-Class Pastimes'. narcissistic a-historical view of the individual: the search for passionate activity founders on its triviality and blinkered aspirations to that which is already present.but are emotionally seduced by consuming experiences. powerfully charismatic leaders or 'Gurus'. generally preferring to crudely dismiss them as 'Escapism'. The commodity basis of these "scenes" is obscured by its participatory nature.. not of it.. the bosom of a family for orphans. and then to relinquish that differentiation in another more positive way that feeds no. "Be in the world. All collective identities. 'Growth'.
and they can be easily be squeezed by anyone who chooses to exercise the muscles of a careless hand. in order that knowledge can be 'stolen' from him. save in . then seriously. the challenge. It is the cleansing of the earthly dirt from our real selves. The true Teacher has more than enough to spare. a real game with Nature without religious meditation. even if this is the source of the original impetus and eventual return and resolution. and indeed. not knowing. originally being taken to mean "the black art" (AI-Chemy) . To make the result of research live in the present. This should not be taken to imply 'evil' as it is so often interpreted in the Western world. first playfully.the knife trying to cut itself but as a state of Man's historical development of his relationship s with the world. without conscience. Rather.into the creator of trip work by which we came to know him the most poisonous fruit that these systems bore must surely be the creation of the transparent ethic of "Become Like A Sponge" a phrase which lurked with open jaws behind many pronouncements of his contemporaries. not being able or even allowed to expect reward or any form of completion whatsoever. It is a sleight of hand. But sponges absorb piss and perfume indiscriminately.not in terms of its own understanding of itself . Its sacred nature is contained within the fragment of the divine name ALLAH . it means to rise from the dirt of existence we are placed in merely through 'knowledge' to the higher realms. which constituted on a basic level. The magic of the past communalist practised. Contemporary application is now only a ludicrous substitute for what is now materially possible." The word 'Alchemy' has its roots in the Islamic world.as Gysin preferred. They remain inanimate objects. the pre-sent) . the present itself . And this follows on naturally from the tradition spoken of earlier: in texts associated with it lies the premise and practical tool that the Teacher first be 'seduced' by the Pupil (hence the allegories of love in the sacred and enlightened poetry not to be found in the Q'ran). and requires the highest qualities of awareness and alertness in order to complete and wrest this understanding for it must not be thought that this is mere knowledge or accumulation of data that we speak of here. and without it being explained in terms of God or gods. for that matter. and the productive and creative forces. a game within nature. without becoming ensared in its limitations. one must first give (out). it is necessary to understand the past (and.. "In Present Time. they got heavy but never grow. but knows full well that the Student must stretch to the upper limits of whatever they are or conceive of themselves of being and beyond before anything worth 'having' can possibly be passed from one being to another. had a material and concrete basis when technology was primitive.the first outward breath being taken to mean that in order to create. Unlike everyday ordinary 'criminal' theft. this is of decidedly another order altogether: the Teacher finds the Student in order to present the temptation.. To rip off the potential of the past in the highest act of sacred thievery. a real form of Conjouring.
e. The disparate elements must be wedded once more within the person. but the progression of the perhaps more Western application of the fragmentation of the world as perceived by our new 'eyes'. but both East and West have the same but commonly ignored or misinterpreted basis: that of raising base material into higher. The closest we have in an actual printed form from Gysin himself that confirms this is the statement that he felt that he was. The confusion resulting from the total paradox which it presents in part and as a whole is generally dealt with or merely expressed by those attempting to comment or pigeon-hole it as "the-stranger-in-the-skull" feeling which permeates in an almost subliminal manner the entire 'ouvre'.the transcendence of mere words and terminology . technology and so on . It is a complicated metaphor. the 'materia confusa'. where the breathing and circular movements. Not just the group of practitioners.by The Cut-Ups. .as if this was not great enough reward in itself. Hence the derangement of the senses. not only it) the legacy of the ecstatic rituals of the Joujouka. plus the precisely co-ordinated rhythmic and tonal structures of the accompanying music (The claims for its healing qualities for example having been recently investigated and verified by recent French laboratory work) create by resonance on the physiological and spiritual levels a raising of those vibrations within the participant in the rituals. but has become the song and is being sung. which is at the same time able to deal with the rest of the world/s in the broadest aspects possible. And this current can be seen to inform Gysin's creation all the way along the line. It is the divorce..on the one hand. Not only is he singing. i. wrong number. "Delivered in the wrong packaging wrong address. This is very potently exposed in the rituals of The Master Musicians of Joujouka. separation and dislocation of all things that must be fused back together again in the crucible of the body in order that a soul might be 'cooked'.in a very real and immediate sense. All these techniques have the same underlying message: that of the separation and externalisation (therefore ennabling the achievement of 'objectivity') of image from reality to go out in order to see the necessity and possibility of returning inwards once more . What is curious and almost unique in this particular modus operand! is the dual nature of its effects . This is now transformed by reference and cognition of the aforementioned into a private ritual (made more explicitly so because of our antagonism resulting from our enforced and tutored laziness). which is seen as the basis for all creative life. and at the same time cannot separate the individuality of the justifiable and legitimate sort from the utter dissolution and immersion into the ritual experience. With both his paintings (whether calligraphic or more conventionally . but with life itself. to higher and higher states. Here we have the beginning of a practical approach to correct empathy with the output of Gysin himself. which of course has its most familiar expression in Western forms. the participant (there are no 'observers' or 'onlookers') has a very personal and seemingly exclusive connection with the Universal Spirit or consciousness. . represented in this system by ALLAH. the general and indicative function of shaping experience into one multi-dimensional time frame. the media." What this skilfully manages to hide is the underlying formula for the initial point of the Alchemical process.
e. to pull the recipient back to themselves through light. but does not prevent their further expansion. Gysin's writings bear this same hallmark. And to reinforce what may have been a very dim realisation of the essential truth of the matter was the fact that most of his close associates. could neither read nor write. And also. but to make the process come alive or in fact to become meaningful in any way. All of Gysin's work can best be compared to guide books." . They are the jumping-off point for most of so called Humanity. rather he is almost unique in recent memory in allowing the focus of his work and the act of focussing on and into it.. that to encapsulate this phenomenon was doomed from the outset to failure) was to simply deal with. Once again. one must actually BE in that place.words have no power unless intoned. where the basic information is supplied as to the area or region.and words are never enough. and not reference to the author.pictorial . the Joujouka Musicians. i. if they are approached in the same way as other kinds of writings where an explanation and resolution is implicit in their construction. the Dreamachine. dealt with or assimilated. simultaneously enabling the commerce of same.. "Every magician eats his own excrement eats his own words. in order that the real message or import/content is apprehended through interaction. all colours. There are no solutions in the back of Gysin's books. i. but also the seeds of its destruction. This unconventional and neglected approach allows the maximum possible space within the given parameters. and arguably his most important realisation.. mutual feeding. in order that the pages do not remain mere writing. but the dim realisation that Gysin is able to pin-point and touch remains. It is the imprisonment of ideas. The 'black' from which we must rise contains all the colours in the physical realm. It reduces imposed meaning by 'speaking roughly'.. This has personal ramifications that should not be overlooked.. It is like trying to plait with fog. And that is that the word must now be abandoned as an outmoded artefact. or at the best moments. print and in interviews. or symbolic creation if you will. acted upon.. Their interaction with the world and with others was . and therefore the beginning of communication.e.although this distinction is perhaps merely an academic one). the close connection with the Sufic conception and attitude to the word. Gysin always maintained in painting. the information can actually lead the reader to a specific real place. can be detected . but the act of travelling itself must be carried out by the person concerned themself. that his purpose (although he realised and allowed us to deduce this realisation by his constantly partial mode of representation. It is not a question of Gysin's trying to hide behind his work in order to create an air of mystery that forces the cult of personality into operation (sadly not the case with most of his contemporaries). just as it is with guide books dealing with particular lands. What they get out is utterly dependant on what they put in. areas are outlined and the completion of the cycle is only possible by recourse to the completely ruthless examination of the state of the viewer. Few though they are.
on another level. the ground floor of being. And yet. This. It contains in germ form. But it is the only price worth paying. is contained in the writings and teaching techniques (no matter how obscured) of all religions. It is a price that few are willing to pay. where the offer on the plate is held in the highest esteem.on the intuitive and non-verbal level . who exploited for better or for worse many of the techniques either invented or re discovered by Gysin. And this is the opportunity. on the human level. These jewels ignored by us glitter in the half. and the eventual raising of our collective and individual consciousness. giving up more and more like an ever more sophisticated transistor radio.and it involves and necessitates Shamanism of the highest order.mirrored in the struggle against delusion and artifice spoken of earlier . etc.it is evident that Gysin always sought the real world. the Shaman must become purer and purer. That Gysin was almost entirely unaware of his sphere of influence is a measure of his adherence to the tenet of 'giving out' and 'letting through" . involves great cost. noticed as abberations by those with rudimentary periferal vision. that allows reciprocation . This is the realm where shadows speak.that what is important "when the chips are down' are those things that cannot be grasped with the hand. as if it were needed. Further evidence.. it must be realised. the clearer and more faithful the energy allowed through the network becomes. His terminology reveals much . when dealing with matters of some importance.that is.'deceptual' as anathema to his credo . is a kind of war .light. yet again.whether consciously intended or no. small people and creatures as yet uncatalogued scamper unfettered. dissected like laboratory rats. Admittedly.not the grasping of the illusory and temporary 'rewards' of this life. an acceptance found in all religious and philosophical systems . but by experience.involvement in the positive sense interaction with the roots and source of the creative act be engaged and connected with. much of this was conveyed by such as Burroughs. chairs. And this brings us to the realisation that there is no place to hide. whom he briefly came into contact with to learn. It is a modern metaphor that can be utilised in view of our present circumstances for our benefit. is provided by his statements concerning those in direct lineage to the techniques initiated by him . building tiny homes from the debris we cast aside thinking it worthless. pinned down like butterflies. That the source must spring up through every sentient being on the planet is a fact that. so rare in recent times. The best metaphor for this process states that for the apellation to be fully deserved and therefore applicable. they CAN! It only requires that the terminology passes from that which is capable of reduction to that which is only capable of expansion. . His approach to them as people reveals a bond between his thinking and that of his spiritual ancestors. The better the quality of the receiver. But this. not by rote or parrot fashion. The reproduction has less 'interference'. and once more. formalised labelling of tables. which is an area or plane infinitely more real than the world of appearances.
there would be little cause for alarm. violently and totally defended from interaction and encroachment by any other party. This is truly a modern malaise.. the terror that shakes us and causes more hours of sleepless nights that nearly anything else.is ruthlessly gobbled up in order to present it to others as unique and unshareable. The walls are becoming thicker and thicker. On the one hand. regardless of any other possibilities for development that may or may not exist. this would indicate a healthy and consciously determined state of affairs. traditions and loved ones. Indeed. save by an elite few."There comes a point where everything becomes the Guru. made a concerted effort to replace periferal vision with a set of permanent 'blinkers'. And yet. On the other.that we are not alone in thinking the way that we do. traditions. The concentration and distillation of creative output of all kinds witnessed in the absorption that is accomplished scarcely in the bat of an eyelid. but nevertheless sweet layers. which knows nor recognises no such concept of the Soul. in the self-same sets of information and teachings that current circumstances artificially created by those that 'know better' strongly suggest we should abandon as outmoded and useless -in present time. is tftat the path which we embark upon may have been trodden |ay others before. the tongues in which messages are being sent out into the world become more and more insular. and the word 'understanding' is in grave danger of being supplanted by a knot' jerk reaction to elements that the recipient feels encumbent upon himself to encode and further coat with his own sticky. we crave for proof . means that categorisation and therefore limitation is the language that is imposed on all individuals.however slight . the way to circumvent this process which seeks to destroy the very fabric of Nature and replace it with the deafening and deadening hum of machinery. and sharply contrasts with still existing (though nonetheless fading. . a cellular mentality is now nearing a state of symbiosis with the host. and threatens to rot away to nothingness the very supports of sanity.. in order that his own house of Straw is not blown down. that our roots are firm and embedded in the same soil as our ancestors. has always been with us. under our very noses. If this were to suggest that the individual has no status except for that as reconciled within the greater whole. due to our penchant for fixing that which is not broken). Any chance for identification (another running away) with another system or process . in generally considered 'backward' or 'undeveloped' societies. Instead. where tradition is seen as the only way to avoid plagiarism. for as long as recent memory can recall.preferably as far removed from our own experience as possible ." Human endeavour and activity has. Small pieces of worthless territory are seized with increasing fervour.
Although there is in everyone the realisation glimpsed in moments of crisis. ecstacy. that of being able to enter into the position of others. for it is truly of that status. But what do we know? The answer is that which has been continually answered since time immemorial: that connections with higher realms of vibrations. and all energy grounded in this way is lost forever. All of us. what these symbols represent contains the same essence as all the rest. that we are mortal. or other inexplicable flashes of the real world that only a fool would ignore. and confront the challenge of. The solo attempt is only valuable when it serves as a preliminary rnap for the use of others." Complacency brings us to a state of utter destitution. being and development is possible. is frightening .seeming as it does to strike . There exists the very real capability to build structures within this world that are in accordance with the old cliche that states that the whole can be greater than the sum of the individual parts." This should not be taken to imply that mindless so-called "creation" upon which so high an importance is placed at the present time. "We are what we can do.insofar as the apparent safety net of our self-pride constrains us. given free by Nature in order that She might be repaid. allows the only legitimate identification. that we are separate entities in the box that we call 'ourselves'. The aforementioned fact.save for that which they have paid for. there is always the backdrop that sets the scene and feeds and initiates the germination of the seeds: that is. our physical and mental limitations . This is the axle upon which the world turns. It requires the destruction of what we call. is at once mediumistic and shamanic. wrongly. which only fills the worlds rubbish bins to the brim. And though the symbols are as numerous as the lives of human beings. A grain of salt has exactly the same properties as a bushel of it. that everything is fed by everything else. but should be understood as the possibility to reach out from. We share the same fate. "Effort is our money. It is a truism that we cannot tell anyone that which they do not know already. when considered in Isolation. The assimilation of any kind of food implies conversion of one kind energy given out. ourselves. in order that others may live. This facility. It requires possession in the positive sense of the word in order that the person realises that they cannot be said to own anything at all . but only in the act of collaboration and interaction with others. And change.
" And yet once more. and seeks to amplify those points of initiation and of impetus that ennables the world to turn. it is its life blood. of materia confusa. Denial of whatever state we are in is not conducive to survival: to willingly accept the scraping of the jailer's key in the self-made lock that confines us to our 'individual' cells can be treated with nothing but contempt. or more correctly. But the real and natural base upon which it is truly legitimate to strike out from is necessarily at all times in a state of flux. being in the world and not of it.at the foundations that it is expedient to think of as solid. if it were not so. the hardest effort of all. Vibration is the very cloth from which all things are cut. "Freedom is always a threat to someone. affecting its immediate surroundings. or a cloudy vision of distant peaks impossible in reality to ascend. the laws of vibrations (i. The realisation of the necessity for such an access point does not spring from a desire for personal self. empathy. through personal experience gained in a multiplicity of situations. The bread is being cast out upon the waters. and the individuals now engaged in these practices have. no exchange would be possible. Note the paradox: ex-change. The concept of sympathy.and ultimately the only real "freedom": that is. By their deeds shall ye know them. To come to now.e. sound) form the basis of all religions and philosophies in the beginning of the passing from one 'state' to another. those experts and architects of life. is to be found throughout the history of the production of all kinds of sonic information. by resonating in accordance with the forces that we are so keen to ignore but provide the only escape from compartmentalisation . The work now being undertaken requires. it can and is perfectly realised. To be here. Mistaking discipline for the death of .and then the 'fellow-through' initiated . By acting in sympathy and with empathy as mentioned above. this is a cause celebre: for by 'threatening' in a manner that denotes capacity for development in place of estrangement the possibility is created . speading out to affect so many others as the limits of its orgininal imetus permits. COMMUNICATION is built on the cognisance of this SPIRALIC property of life. and thus is the vehicle in which all may travel. one finds that a vibration starts from the alternation of the extreme opposite of its parameters. it does not preclude the attribution given it by the Alchemists. come to these commitments with their eyes wide open. And so.agrandisment. But it provides the format from which all else arises.brings a shock that awakens and stimulates the inherent but constantly denied potential to real-ise.. And only by knowing where we are can we know where we can go to. Even in the physical properties capable of exposition.
a combination of a group of people working as much as it is possible to coordinate the three centres under our control:.M. Was Brion Gysin's hope.dimensional picture that it is impossible to vandalise with impunity. appreciation of beauty that is underneath the surface dirt of being in this world on this limited and limiting plane from day to day can regain its rightful place.McKenzie Amsterdam 1989 (Revised from 1987) -oOo- The DREAMACHINE as presented here is constructed and annotated with regard to the eventual supplantation and possible further enhancement off its effects by the reciprocal feedback by the purchaser and/or viewer. We await the first overflow of conscience and of hope that is inherent in all. it is indeed possible to turn the world into a flat.impartial mentation. and not that which it really represent. And there is hope. that of progression and acceptance of what is possible and not merely desireable becomes the aim of an ever more widening frame of reference. The ripples in the pool spread out from us and create more water capable of creating more ripples. here follows a . It is also a gross mistake to think that these ideas are the ramblings of some abtruse philosophical system based on mere mentation. Back in no time. anywhere. that trust. that the force that generates this endlessness may be misinterpreted is not at issue. Let the vandals multiply. A. and with what is named 'conscience'. and the desecrators of sacred cows flourish and prosper no matter how their own conscience sits .real pride in oneself (one of the rarest of the rare) is the easiest and yet one of the most reprehensible faults available to anyone. that is. Unless these centres are in balance with each other and themselves. To this end.for only giving and not taking can bring true fulfilment. two. feeling (emotion). and that people can actually learn from being alive. Always. and physicality. is our hope.
music. weather.drugs. what style. their reactions and responses to the construction. what language. etc. South. These questions are not to be regarded as imperative. general health. voluntary or involutary during viewing? * In what way (if any) was experimentation with positioning of the viewer's head in relation to The Dreamachine carried out? If so.type of room . please give details.preferably written down as soon as possible following the experience/s itself/ themselves. and if So. atmosphere. . * Was there any deliberate attempt to align the Dreamachine to North. * Please give any other impressions which may have carried on following the experience. which direction was the viewer facing etc? * What was the length of time of viewing? * At what time of day did the viewing take place? * Please give as full an account as possible of your experience whilst viewing . etc.or. etc? * In what direction was the Dreamachine pointing . job or occupation (if any) and what expectations were present before viewing. and of what content? * Was the speed as suggested elsewhere in this text? * Was the wattage of lightbulb as suggested elswhere in this text? * Was the positioning of the lightbulb as suggested elsewhere in this text? * In what situation was the Dreamachine used . .this should be as full as possible. Please address this report. and will be regarded as private and confidential.general description of ANYTHING pertinrnt . * Please give details of pulse rate and temperature before and after viewing. * Was the Dreamachine decorated or otherwise altered from the pattern here enclosed? * What base colours were used? * Was Calligraphy used. East or West? If so. gender. in further research and publicatory work with regard to The Dreamachine.questionnaire which it would be of the greatest help to further work on the project if you were to complete and send it to us. in what direction was the viewer pointing while viewing? * Were any other additional stimuli involved . containing details of physical build. location. to: THEE TEMPLE OV PSYCHICK YOUTH/THE HAFLER TRIO Alexander Boersstraat 30 1071 KZ Amsterdam The NETHERLANDS All material is welcomed on any level. and as fully as possible. which will be acknowledged in writing. and used only with permission. but we would hope that all 'participants' would write down in as clear a manner as possible. ? * Please give a general description of yourself .and including the time of day. * Were there any physical reactions or responses.
[quabalistic sign] . the initial recordings were made by A. Pyre. Selective equalisation was used. This can be identified as the number of markings on the sacred mushroom (SOMA). Written as one word. between thirteen and eight pulses per second. constructed alony principles laid down. but as Gysin also knew. of the Department of Neurology. The DREAMACHINE is constructed from Islamic principles. in order to emphasise to the point of ultimate effectiveness and maximum utiisation. The purpose of the various layers was to bring into balance the Male and Female forces In direct proportion with one another. These emphasised frequencies corresponding to the Alpha waves in the brain. with the technical assistance of J. and the form of Quabalism used with respect to these constructions is essentially Judaic in nature. They are. with the DREAMACHINE in the collection of TOPI. without the knowledge of Brion Gysin himself. Row.M. These recordings. Hoskins. is capable of dissection in order to ascertain the correspondences and ramifications of the inner meaning/s presented by a material manifestation.[quabalistic sign] Court.McKenzie. based loosely on Bon-Po Tibetan Breathing exercises. on all levels. to Winnow. were then layered and modified at the facilities In Suitcase Studios. which feature vocal and breathing effects. to Carry . The second part of these experiments deals with the Quabalistic applications of the word 'DREAMACHINE' Itself. parts one. Every effort has been made to align the principles suggested by him with those made evident by the researches carried out by ourselves with The DREAMACHINE. given that it is expected that Male and Female persons will eventually be subject to the effects and influence of The DREAMACHINE. England. Generation. but from guidelines gathered from Gysin.-oOoNOTES ON THE RECORDINGS "Sound to enhance the effect of Brion Gysin's DREAMACHINE".[quabalistic sign] (pronounced Darom . the roots of this ancient Art stem from precisely the same root : the realisation that sound encapsulated in the Word. written or spoken. frequencies present in the original recordings. in conversations and written works concerning the machine itself. 'DREAMACHINE' (values are read from left to right) 4 + 200 + 1 + 40 + 300 + 70 + 50 = 665 plus The Dreamer (1) = 666 . University of Newcastle Upon-Tyne. McKenzie of The Hafler Trio on a specially modified binaural system. which must be 'ridden' to the unknowable and sacred realms. unfortunately. and three (part three being available only on the Compact Disc version of this release). two. to Revolve . from A. not only from the original impetus and construction of The DREAMACHINE itself. Cycle. that is. however.the number of 'The Beast'. are composed with regard to three separate processes developed. Genesis. and Caresse P-Orridge. Admittedly. as Gysin always referred to it. M. Alaura.South) . Developed from a chance occurrence as described elsewhere.
to See. Twilight Protector. Fear. Hidden ..[quabalistic sign] 666 . patterns and constructions to be used in conjunction with these rpcordinqs are to be stroncjiy encouraged. The recordings themselves in this second section are layered and processed using only these numerical revelations and revolutions. are welcomed and solicited. and in particular the psychoactive equalisation treatments. The Cubit. to Meet with. It is hoped in the future to carry these explorations out to their fullest possible extent. this third sound recording was constructed. Sight . Exalted . other possibilities for utilisation of symbols. Colours. Sun & Moon in The Sky. "The Serpent". All possible configurations are nonetheless possible. and with first hand aquaintance of these practices. All the above recordings are mastered digitally at The Radio Art Foundation Studios. be carried out on the highest quality headphones available. Awe. Contemplation . accompanied by the experience of The DREAMACHINE itself. Secrecy.To Appear. Having Rings. Creeping Thing. but an effective and preliminary excursion into the revealed possibilities of the correspondences laid bare by this technique. These shapes relate directly to the Art of Sufic Geometry.[quabalistic sign] This is neccessarily a primitive exposition. The movements in the sonic field are based and extrapolated from the underlying properties of space and time.[quabalistic sign] High. Feel. Prepare. Present on this recording are 1111 voices. with regard to all the parameters involved in the processing. Suggestions. Aid. Touch.[quabalistic sign] Two Lights. Speak. Foundation . etc. and also suggested for possible experimentation. Vision.[quabalistic sign] To Look. reports on listeners/users experiences. It is strongly recommended that the first listening. and further examples will be made available in the near future. -oOoNOTES ON THE DREAMACHINE ITSELF . These recordings also form the first body of sonic explorations by TOPI and The Hafler Trio. Eye.[quabalistic sign] Womb. as contained within the doctrines above mentioned.[quabalistic sign] Revealer of knowledge.[quabalistic sign] To Produce Apparitions. As the recordings themselves are constructed with the strictest possible connection and utilisation of the essential principles of the DREAMACHINE. Handmaid . Existence. Evening . Rock. The third part of this exploration of the sonic properties and complementary interfaces consists of the movement and travel possibilities suggested and re-inforced by the mathematical properties of the shapes of the holes in the DREAMACHINE. during April of 1989. dating to over two thousand years ago. To Think.
there are no recorded examples of brain waves (known to us) that fall without this domain. be carried out by the viewer. the full range of interruptions of light between eight and thirteen a second are possible. etc. we assure you that one will be found. The background was not a solid mass. By changing one's relationship to the proximity of the cylinder in operation. height. These machines were surrounded with a plexi-glass screen. The pattern for The Dreamachine has been published a few times in various publications all over the world. Rolling .as a result. The reason for the various different shapes lies in the mathematically calculated rate of 'flicker' possible by the suspension of a lightbulb within the rotating cylinder.The construction and production of the Dreamachine. where is was discovered that the strongest effect was produced by this colour cylinder. With this package should be a cardboard tube containing the Dreamachine itself should this NOT be the case. thus preventing potential lasceration of the nose by the whirling (metal?) cylinder. There were many prototypes prior the development of this final version. Black contains all the colours of the rainbow. This should be done with a steady hand and a sharp blade . these are all incorrect. The reason for this arises from extensive researches carried out by The Hafler Trio. and another in Basel. applied by a specially modified roller.m. For those who wish to experiment. The Alpha waves in the human brain vary from individual to individual. Having obtained such a machine. the purchaser is directed to return to the source of purchase. the purchaser is advised to frequent the numerous second-hand shops that festoon every city in the world. The present pattern is based on the examination of the plans as used for the first exhibition in Basel.. it is recommended that experimentation with distance.such as a Craft knife or Stanley blade. and thus. no plans were given to anyone. and has been scruplously calculated to produce the effect as intended by Gysin and Sommerville. the present design evolved. but also denying access to the sonic properties of the construction. but featured (in most examples capable of examination) these colours printed in his 'grid' structures. whether Compact Disc or L. This is supplied in black. Notwithstanding this..P. not least. This should not take longer than a half an hour. but unfortunately. rectangular slots cut out of the cylinder. and provides the maximum alternation of light and dark. giving far less than the optimum effect. as presented here. and for a small outlay. Gysin's machine was silver on the outside. written on an orange/red and green background. which is provided by the purchase of a suitable record player. the next step is to cut the holes out of the Dreamachine. from the death of Brion Gysin himself. and contained his own calligraphy. and were rotated in a primitive manner by hand. Before his demise. The original plans have been meticulously scaled down to allow rotation at 78 r. The first examples known used simple. The hitherto available examples rely on modified patterns. drawing heavily from Sufic geometry for the shapes of the holes.one in New York. Slowly. and this is the first point of difference between Brion Gysin's Dreamachine as used by him in his apartment in Paris and elsewhere. except those used in production of the few existing examples present in two Museums . was fraught with problems . The price of the package.p. includes the Dreamachine pattern. If one is not at hand.
The calligraphy can be of any content. As mentioned above.the Dreamachine into a cylinder. the Dreamachine is ready for use save for the suspension of a 60 watt lightbulb exactly in the middle of the cylinder. Before decorating the Oreamachine. similar to record. too. to make the construction revolve. experimentation with all the parameters involved is strongly encouraged. and operate the 'play' button. should remain plain . it has been found that this is too strong. The viewer should sit at the aforementioned height. nose approximately one centimeter away from the turning Dreamachine. rests easily at the beginning of the third row of shapes. but is not unable of alteration. staples. we recommend that the plain version be experienced as it is. but yet again. ensuring that no 'wobble' is present. also of some suitable material. and rotate it gently by hand. The recordings supplied in whatever format should be played simultaneously with viewings. one side being glued to the Dreamachine. it is suggested. and that the overlap corresponds precisely with the existing holes. placement and usage are capable of infinite variation. attatch the structure to the turntable. we would request that the viewer/s write down immediately following a session. Make sure that the Dreamachine is stuck firmly to the turntable mat or base. Because of the reduction (approximately one third) of the size of the Dreamachine as here enclosed from the original plans. will provide differing effects. Furthermore. A last point is that the original plans consulted specify a hundred watt light source. This should hang approximately level with the end of the first 'row' of horizontal shapes in the cylinder. we encourage experimentation unreservedly. Experimentation with this aspect. During all viewings of the Dreamachine. Once again. eyes closed. place the Dreamachine EXACTLY on the turntable. affix the overlap section of one hole over the other 'end' of the pattern. Loud-speakers are effective. the viewer is urged to experiment with different positionings after this first try out. But again. The outer surface. .whichever colour is finally decided upon. when sitting comfortably in a chair. but should mean something precise and personal to the writer. Check once more for any elliptical movement. or any other available means. If this is not present. Please see the enclosed questionnaire for more details. the other to the turntable mat. or a base. as the Dreamachine itself is such a personal experience at this present time. with glue. Please ensure that the join is exact. This can be effected easily by 'L' shaped pieces of cardboard. The turntable and cylinder should be positioned so that eye-level. their thoughts and impressions. This having been done. or some such. as is the alteration of colours on the inner and outer surfaces of the Dreamachine. This is to enable us to progress further in our researches. headphone listening is advised as the optimum. The recordings themselves are designed to produce an expanded effect of the Dreamachine by utilisation of frequencies in the human brain's Alpha-band as mentioned elsewhere in this booklet. At the base of the cylinder. Any medium that affixes easily is suitable.
V. It has now been demolished to make way for new overpriced apartments as a pert of thre general 'cleaning-up' campaign taking place in Amsterdam in readiness for the opening of the European borders in 1992. sound was added live in the same manner as the construction of the enclosed recordings by the two members of The Hafler Trio present. No alchohol was served until half-way through the event. and upon entering. A very large space. with railings to prevent print workers from falling from the second level into the machinery below. Aorta was a part of a squatted newspaper building. To begin with.McKenzie of The Hafler Trio. Aorta. Half way through this. speakers. investigated.M. -oOoTHE DREAMACHINE AS INSTALLATION IN PUBLIC The Dreamachine was first presented to the public as an installation complete with a modified version of the sounds enclosed here on Saturday. the only sound emanated from a video tape being displayed by monitor on the uppermost level. in collaboration with Thee Temple ov Psychick Youth's archives. No one was allowed into the building until 23. 1988. plus other brief historical information. All the Dreamachines were turning. in accordance with the Islamic tenets involved in the genesis of the machine. Speakers. Situated in central Amsterdam.30 hours. At the end of the performance. A. the sounds were conveyed through six large Bose P. built from solid concrete. but the machines revolved for a total of three hours. the leading pirate radio and cable television network. The performance lasted an hour. This was relayed through a set of four separate Bose P. two of aluminium and four of black card. Aorta cbnsisted of two levels. All the Dreamachines were decorated on the inside by elaborate calligraphy. at Aorta. The event was widely advertised in Holland through radio and the press. and the phase relations controlled in accordance with the Quabalistic operations suggested by the word 'Dreamachine' around the entire space of Aorta. At the end of the transmission of the programme. "The Cut-Ups" and "Towers Open Fire" were also displayed via the video monitor. Amsterdam. a national Dutch newspaper roughly equivalent to 'The Times' in London. and two members of The Hafler Trio.30 hours. visitors were presented with a broadsheet explaining how to view the Dreamachine. the 13th of February. through and with the two aluminium Dreamachines.V. . learned and executed by A. Each machine was different. four from Radio Rabotnik T. The Netherlands. A. the old offices of the NRC Handelsblad. undecorated. it accommodated six fully operational Dreamachines.. was originally the printing press works of that organ. and most visitors viewed more than one in the relaxed atmosphere. and drew a crowd of approximately 250 visitors. a programme made by The Hafler Trio and Rabotnik T. operated by six attendants. Free access to the Dreamachines was available at all times.Please consult the other information and questionnaire contained in this booklet. at 22.
1001 GL. As stated elsewhere. Some sections have been previously published elsewhere. The Netherlands. Further information is available from : Thee Temple Ov Psychick/The Hafler Trio Alexander Boersstraat 30 1071 KZ AMSTERDAM The NETHERLANDS It is hoped that the world premiere of an event that allows unlimited participational freedom for all wilt not be the last. and is being edited for eventual release at the time of writing. -oOoCREDITS The copyright on all written material in this book rests with the respective authors.Box 114543. Amsterdam. unique in the installation area. and carried out with the principles set out by Brion Gysin before his death. we welcome all and any further research into the Dreamachine on any level. WHAT IS A DREAMACHINE was originally published as the text of a catalogue accompanying the very first museum showing of the Dreamachine in Basel. Switzerland. Label calligraphy from an unpublished and untitled calligraphic poem by Brion Gysin. These were taken by TVD. . These would also contain details of further developments and new techniques. P. All photographs in this package are taken from the Dreamachine videotape available from Staalplaat. Used by permission. There will be further issues of the resulting research and additional sound experiments to be used in conjuction with viewings. Front cover calligraphy is taken from the first ever published pattern for the Dreamachine by Brion Gysin. The Dreamachine installation. is still available.The entire event was videotaped. but even these have been substantially reworked in nearly every case.O. The initial Quabatistic elaborations of the word Dreamachine suggested and carried out by Z'ev. Used by permission.
Typeset at Suitcase Studios and The Radio Art Foundation during 1989. who also performed the onerous task of liasing between printers and producers.M. Layout by A.McKenzie and Jon Wozencroft. Dedicated to those that accept this in the spirit in which it is given. -oOoThe Hafler Trio site's without whom: Eric Suitcase net-version (as always): ab .
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