How to Create a Glitch

The Complete Series

Volume I: How to Create a Glitch
Forward
This book is the result of years of phenomenological trial and error. It
is the product of attempt after attempt after attempt. It is also the product of
years of introspective analysis, brought on by the occurrence of the strange
and seemingly impossible. It began as an inquiry into the nature of reality. It
led to the development of ontology with branches in a variety of subject
areas: psychedelics, the paranormal, the spiritual and the real. It is not a
work of fiction. It is a work intended to be scrupulously followed for the
desired results. Only a mind free of any doubt will accomplish the task of
synthetically producing a glitch. It does not require that one accept that we
are in a synthetic reality. It does not require that one accept that we are in a
simulation: for the explanation of the glitch is unrelated to its occurrence.
Nevertheless, you should be aware, that the author of this book firmly
believes that reality is indeed a simulation, not necessarily one artificially
produced, nor one devoid of spirituality, but just the same, a simulation,
whether of Maya or digital ones and zeros, it is up to you to decide. So,
without further distraction or complication, I will begin the exposition of
the method (praxis), which one may call upon to produce the truly unusual.
This book will be comprised of three different approaches to the
subject. First, there is the orthodoxy, which is the theory behind the
production of a glitch. Second, there is the praxis, which is the method of
producing the glitch. Third, there is the experience, or occurrence of the
glitch. One cannot grasp the techniques behind the production of a glitch
without the requisite theory behind it. Nor will one appreciate the
orthodoxy without the phenomenology, the experience itself which
validates it.
Ultimately, the author of this book approached the subject of glitches
with a scientific mind. The goal of glitching is to turn oneself into an
instrument of the scientific and one’s experiences into the validation or
vitiation of a theory. That is to say, that there is no one proper method of
creating a glitch just as there is no one way to skin a cat. Animating the
supernatural requires trial and error, just as learning any new skill. And
some may find that certain techniques work better than others.
 So without further ado, I will explain the basic orthodoxy of glitching,
as I developed it. Note, this is not a final penultimate description of the
architecture of reality. It is merely my orthodoxy, my praxis and my
phenomenology. You are free to borrow as you please, or to reinvent. What
you take from this work is entirely up to you. But, I do not guarantee any
results unless this book is absorbed and scrupulously followed.
Chapter 1: The Basic Foundation
Reality, whether from the standpoint of simulation theory, or from the
perspective of social dynamics, is merely the manifestation of an
interconnected web of expectations. You can describe these expectations as
“thoughts” or “observations”. You can describe them however you like. But
the implication of this reality is that the “stuff” of our experience is
composed of a constituent matter which reflects our impulses.
As such, imagine that every person produces a kind of “expectation
field” created by their impulses: a catalogue of their ultimate predictions
about what is and what should be. This “expectation field” populates our
reality around us even when we are not directly observing an event or
occurrence. So for example, if we are sitting in our home, we might not
observe what is happening out on the street in front of our home, but our
minds have “expectations” about what in particular is happening. These
expectations provide the framework for our passive experience of reality. If
we do not step beyond these expectations, if we do not stretch the limit of
them, we will never see the truly extraordinary.
Now, think of the mind as a filter as well. Our minds are continually
looking for particular things as objects transition from the passive attention
of our minds to the conscious. Events or things which are out of the
ordinary will not enter our consciousness if we do not allow them to. We
must expect the unexpected, permit the truly strange to enter our awareness,
if we are to perceive it.
Now there are ways that one can increase the likelihood one will
perceive the unexpected. It begins with the admission that our lives, our
expectations, are dominated by our habits and routines. The first step in
moving beyond the ordinary is learning to stretch these routines and habits.
We expect that when it is nighttime, the world will be at rest, for the most
part, just as, we expect that during the daytime, the world will be active and
alive. Human activity can be broken into shells of routine, or cycle:
 Each shell of activity modulates the expectation field of a given
person. But each of these shells of habit or routine play a role in ultimately
entangling us in the interconnected web of human expectations and routine.
Imagine that these shells of routine are like the “insulation” of our
consciousness from direct exposure to the communal expectation field. By
remaining within the gamut of these shells, we are sure to never disentangle
our minds from the interconnection of our basic most rudimentary
expectations.
Now, it is important also to note, that our expectation field can be
“concentrated” or “released” according to the social tension in our bodies.
If we depart from our basic routine in any of the above shells, what we will
see is that our bodily “tension” is amplified until there is a release. Imagine
for example that each of the shells in the above diagram represents a
separate level of bodily tension. They resist the “movement” of the other
shells into their “territory” through tension, as oil and water subsist in
relative separation through tension. To enable us to experience the truly
extraordinary, we must learn to “puncture” these shells of routine or habit.
Now, how does one begin to unravel the nature of one’s basic habits
and routines? Let’s start with the sleep cycle. One can dislodge the sleep
cycle in time, by sleep deprivation, or one can alter the sleep rhythm by
alternating more often between states of sleep and wakefulness. The
practicalities of doing this aside, it is not that difficult to do with concerted
effort. Second, the cycle of ingestion, this may involve anything from food
to the air we breathe, to any drugs we may be addicted to. Any ingestion is
addictive and habit forming. Thus, we can say, that the ingestion shell can
be further subdivided:
 Each of these sub-shells corresponds to a rhythm and thus to a pattern
of behavior, which conditions the tension under which our bodies function
and therefore the expectations we produce. For each sub-shell, we must
learn to either abstain or alter the rate or pattern by which we consume or
ingest substances. It may be as simple as learning to alter our breathing
through breathing exercises, or intermittent fasting to alter our ingestion of
food/water, or abstaining from say cigarettes, if we have a cigarette habit.
Although some of these habits have obvious techniques for which we can
alter the routine, others may require further elaboration, which will be done
in later chapters.
One of the essential preparatory steps in creating glitches involves
the elimination of these patterns. It is not enough to practice the exercises
described in this book in the morning, only to eat a habitual lunch in the
afternoon. To truly see past the veil, you must abstain from these impulses
for a time, or dislodge them in time.
The reason for this is that natural impulses like: sleeping, eating,
urination, defecation, sexual activity, all release tension and create
predictable patterns in our behavior. That is why, if you attempt to produce
a glitch, you will find that your impulses become more pronounced and
difficult to resist. As a preparatory step, it is necessary to abstain from
eating to dull the sense of hunger, abstain from sleep, to dislodge the
patterns of your life, or abstain from sexual activity (for a brief time), to
heighten your body’s response to social tension. Some of these practices
may obviously reduce tension, but they all contribute to the creation of
habits that must be temporarily broken to create glitches. Creating glitches
is ultimately about creating patterns and breaking them, which means that
the patterns that define us, our impulses, must be ignored or redirected for a
time.
Chapter 2: Bodily Expressions of Meaning
In the last chapter, I explained how our routines modulate our
expectation field. I explained how it is necessary to dislodge these routines
or habits in order to truly experience the impossible. In this chapter, I would
like to explain the interconnection of our expectation field with others’
through the expression of meaning.
Language is the fundamental foundation of uniformity. Meaning,
expressed through language, is how we transmit our expectations to
another, and how we receive expectations from another. It is the medium by
which our individuality becomes unified with the whole. But it is more than
that: it is the intersection point of our bodies with our minds, the
intersection of our mind with other minds, and the intersection of singular
realities with multiple realities.
The expression of meaning does not necessarily mean only vocal or
auditory meaning. Language takes a variety of forms, from the physical
such as hand language, to the auditory, such as vocal language, to the
visual, such as facial expressions. Suffice it to say, a person’s ability to
express meaning is limited only by his or her imagination. But for the
average or typical person, the expression of meaning can be described by
the below diagram:

The purpose of this diagram is to show the five basic mechanisms or

levels by which we express meaning in a spatial sense. We express it
through hand language, through our facial expressions, through our body
posture and posing, through our voice, and finally through our location
proximate to other objects or people.
 These are what I call the “spatial plates” of reality. For each of these
plates represents a separate intersection between our expectations and the
expectations of others. We create expectations by our hand/body language,
we create them by our words, we create them by our facial expressions and
we create them by our location in space. Just as the shells or cycles of our
rhythms modulate our expectation field unconsciously, the shells of
meaning represent the modulation of our expectation field consciously.
The expression of meaning modulates the expectation field we
produce and thereby restricts or undermines our ability to experience the
unexplainable. Each shell of the spatial plates represents a distinct level
which can be used to modulate our expectation field and thereby either
expand or contract our conscious awareness into what is ordinarily unseen.
 I will start off at the plate of the hands: the lowest of the spatial
plates. The expression of the plate of the hands takes the form of spatial
transformations. In the expression of meaning through gesture, the plate of
the hands uses the medium of spatial transformations to express complex
ideas and concepts. These complex ideas and concepts take the form of a
“narrative”. A narrative conveys or expresses tension, just as the rhythms of
the body keep tension at bay. This “tension” represents both the modulation
of one’s expectation field and the transmission of that tension into the
expectation fields of others. Thus, the four spatial shells or plates are
overlaid on top of the four shells of bodily cycle.
In mathematics, there are four forms of transformations: translation,
rotation, reflection and dilation. But in reality, there are other
transformations relevant to the expression of meaning which involve these
transformations, such as in relation to an object. Each of these
transformations can be used through the expression of the hands, as a
medium to transmit a particular series of concepts or ideas.
Implicit in this is that the hands are carriers of emotional tension, the
rhythm of tension which is the product of the four shells corresponding to
our bodily rhythms. Thus, these four bodily rhythms produce in us four
radiating levels of tension, which rise through our bodies into each level
which corresponds to the expression of meaning reaching the hands, which
is the outermost of the spatial plates or shells. Visually, we can understand
this through the below diagram:
 Our basic vocabulary of spatial transformations manifests distinctly
as one rises through each of the shells or plates of activity, but the same
basic vocabulary remains regardless. Each transformation expresses
meaning by visually modulating the tension in our bodies. Thus, the
tensional waves created by the four shells of bodily rhythm are the “stuff”
of meaning, while the transformations themselves provide the essence. One
reveals tension by the velocity by which these transformations are
accomplished and the frequency of their occurrence.
Altering the manner by which we express meaning has the effect of
altering the expectation field we produce and interact with. This may be a
simple as using idiosyncratic postures during conversation to negate the
expectations of others, or it may be complex as manipulating mirroring
techniques within the context of a social dialogue. The goal of glitching is
to undermine the “rhythm” of normal social transmission of bodily tension,
to expose the sinews of the interaction and thereby release the unusual
beneath it.
Chapter 3: Using Your Body to Glitch
When one expectation field reaches another through the expression of
meaning, the two corresponding individuals will do one of two things. If
they agree on the expectation, or the meaning, they will mirror each other’s
facial expressions, posture, vocal intonation and hand gestures. If they
disagree, they will produce contrary or antithetical alignments. This
phenomenon is the manifestation of the linking or disconnection of two
expectation fields expressed through the bodily tension of the individuals
involved.
Thus, just as altering one’s bodily rhythms can have the effect of
dislodging one’s expectation field in time, revealing the sinews of the
reality beneath, so too can disrupting the linkages between expectation
fields reveal the underlying occurrence of the improbable.
There are a variety of techniques that can produce such
misalignments. First, in a social setting, one can incorporate mirroring into
posture, facial expression, hand gesture and vocal intonation, when it is
inappropriate, or eliminate it when it is appropriate. One can use
odd/idiosyncratic postures, expressions, or movements, which would not
usually be mirrored, to produce a similar result. One can simply balk at
conformity with the common expectations of a place or setting. One can
alter the rhythm by which one consumes a beverage (for example), or alter
one’s breathing rhythms. There are manifold ways that one can dislodge the
regular occurrence of the unification of the expectation field. The
methodology behind doing so is limited only by the imagination of an
individual social actor.
Obviously, because a social setting has more people, there is a greater
likelihood of conflict between two expectation fields. Thus, social settings
are the most productive places to experiment with creating a glitch. Below,
I have described a few exercises one can use to prepare for such a social
setting, keeping in mind that the below are merely examples of the ways
that one can dislodge the common expectations that produce uniformity.
1) Breathing exercises:
 Find a quiet place, preferably a chair that is comfortable, and make
sure the room is quiet. Take a deep breath until your lungs are full and then
try to breathe in just a little bit more, until you cannot bear to pull in any
more air into your lungs. Hold it, for as long as you can, then exhale, until
all the air leaves your lungs, push out the last little bit of air as best you can
until it becomes difficult and you cannot bear to exhale any more. Hold
your lungs empty of air for as long as you can. Then, when it becomes
unbearable, breathe in and exhale.
Once you have completed the process a few times, the next time you
do it, this time, hold the air in your lungs LONGER than you think you
CAN. This is the tricky part. Your mind will tell you to breathe out, but
your mind will also tell you how much longer you THINK you can hold the
air in. You should experience a strange kind of release when you
accomplish this feat. The key to this exercise is to hold the air in still
longer, just a little bit longer, than you think you can. And then, exhale. And
once you have released all the air in your lungs, as much as you can get out,
hold it out for LONGER than you THINK you can. Your mind will argue
with you, tell you that you can't do it, but you CAN. And then inhale. Rinse
repeat for a half hour or so and you've completed the first exercise.
2) Attention exercises:
After you've completed the breathing exercises, the next step is to
focus and release your attention. You'll find this easier to do after you've
completed the breathing exercises. Once you've completed the breathing
exercises, stay seated in your comfy chair. Allow yourself to take stock of
your attention. You should find now that your attention is more diffuse, that
is, your attention should be focused on the background sounds, the ambient
noise of the room, the neighborhood, the city, or rural area where you live.
You should hear insects, birds, cars, and the general "flowing" back and
forth of the area. Try focusing your attention on something, then releasing it
back to the background. You should find it easier to do this the longer you
have been working on the breathing exercises.
3) People watching exercises:
 After completing the above exercises, go somewhere where people
are: a coffee shop, a restaurant, a bar, and make sure you remove any
distractions like your phone from your person before hand. Listen when you
should not be listening, focus on the things people say, that you might not
otherwise listen to. Find a table and listen, allow your attention to find the
background, then focus on a conversation and listen to it carefully. As you
listen try to find the seam of their thoughts, you should feel their words
flowing through you, as if their conversations are somehow a reflection of
the ambient noise in your mind. As you listen, try to imagine some
contradiction inside yourself, it doesn't matter what it is, just allow some
contradiction in your internal thoughts to form and think about it
exclusively. While you do this, continue to listen to the conversation and
listen to how the topics, word choice, reflect the internal contradiction in
your mind. If you continue to do this, you will find conversations around
you begin to reflect your internal stream of consciousness.
4) Social exercises:
After you have completed the breathing exercises and attention
exercises, arrange a meeting with a friend or friends. Find a table
somewhere, a bar, cafe or restaurant, and allow your attention to focus on
their body language. Allow the conversation to proceed naturally, but pay
attention to when they shift forward in their seats, rest their bodies on
tables, pay attention to when they mirror you and when they mirror each
other. Now, once you have a grasp on the dance, don't allow yourself to get
lost in the conversation, remain mindful of their postures and your own
movements. As it gets easier to listen and pay attention, start manipulating
your postures to mirror theirs, and then, once complete, once they start
"reacting" to it, break the mirroring pattern. Continue this process for as
long as you can, while listening to the ambient conversations in the
background. As you get better at this, you should start to find that again, the
ambient conversation begins to reflect the ambient noise in your mind. The
longer you keep this up, the more closely it should mirror your thoughts. If
you succeed in producing a large enough correction event, the ambient
conversation should first appear to somehow relate to a contradiction in
your mind, then, represent conversation that you could infer refers to you,
finally, it should be directly about you or your thoughts or your experiences.
5) Postural exercises:
This one is best completed after the attention exercises. Go
somewhere where there are people and practice altering your posture to
produce changes in other people's behavior. For example, when waiting in a
line, stand aggressively, and then passively, try changing the angle of your
chin. Practice controlling your eyes, avoiding objects of self-consciousness,
then identifying them. As you practice these skills, intentionally using your
posture to create shifts in the postures and movements of others, you will
find yourself falling prey to postural releases. These are postural shifts
which loosen the joints, to produce a release of social tension. The key is to
slowly learn to reverse these or prevent them from forming in the first
place. The goal is to slowly undermine the natural process of group
relaxation. As you do so, listen to the ambient conversation, and like the
above you will experience shifts which reflect the contradictions in your
mind.
Chapter 4: Verbal Expressions of Meaning
Now, the expression of meaning occurs predominately through verbal
language. Language also has a number of separate levels of meaning,
representing distinct levels of intersection between our minds and others.

It must be understood that each of these levels of language represents

a modulation of the tension of the four shells of bodily rhythm. Thus, each
level of meaning represents a distinct intersection of that tension. This
distinct intersection manifests in (again), the frequency and velocity, by
which that tension is expressed. As with the spatial transformations
described with regards to the plate of the hands, we perform these same
transformations within our minds through the four levels of verbal meaning.
For example, the holding of two contradictory ideas in the mind at the
same time produces tension in the mind, which manifests as tension in the
body, which is expressed through the spatial plates. Likewise, the resolution
of a conflict between two ideas manifests as a “release” of that tension,
which extends into the body and is expressed through the spatial plates as
an alteration of the frequency or velocity of an action. The spatial
transformations that I described in relation to the plate of the hands
represent the creation and release of tension within the mind, manifesting
through the emotional tension in the joints and muscles of the hands.
The emotional plate is the lowest of higher plates in that it constitutes
pure unadulterated emotion. Its vocabulary is as simple as the five senses
and the internal emotions that we all know. The emotional plate is the strata
through which intersections between expectation fields are formed between
the physical plates among people. The content or vocabulary of this plate is
crucial to stream of subjective experience. When two people have a
common emotional reaction to something, they mirror the expression of that
emotion. When two people have a divergent emotional reaction to
something, they do not mirror that expression.
The archetypal plate is the next lowest of the higher plates. The
archetypal forms the controller of the emotional plate in that the archetypal
vocabulary and orientation of a person governs their emotional vocabulary
and thus the stream of their conscious experience. Archetypal forms are of a
limited kind: there are only so many archetypes that possess potentiality for
individuals. Think of this vocabulary as the primitive forms of human
identity (i.e. the fisherman, the soldier, the dancer, the singer, the joker, the
father, the mother, etc.). These archetypal forms are thousands of years old
and embedded in the DNA of our consciousness. Many are simply the
opposing orientation of the other.
The symbolic plate is the next lowest of the plates and integrates the
archetypal and emotional plates through orientation. It is in this plate that
identity archetypes become "ideal" or juxtaposed in value judgments
cemented by the emotional vocabulary of the person.
The final and highest plate is the esoteric plate. The esoteric plate
provides the architecture necessary for the plate universes to function. It is
the plate which integrates the physical plates and the higher plates into a
single cohesive structure. It does this through object oriented archetypes of
a limited vocabulary. Unlike the archetypes of the archetypal plates, which
are personal, the archetypes of the esoteric plate possess only limited
personality. Objects such as doors or gates, windows, bridges, pens, shoes,
knives, cups or bowls, tables, possess this quality. Though there are many
more. If you are curious, the English language is woefully capable of
expressing the "personal" aspect of these esoteric objects which other
languages do by adding gender to nouns.
Knowing the archetypes of the esoteric plate is part of mastering its
knowledge, for each of these objects possesses a key to understanding the
architecture of the plate system. Think of two doorways into a room as the
only way for two people to meet and form common emotional experience if
they come from two different directions.
Chapter 5: Postural Releases and Timing
Up until now, we have been discussing intersections between two
expectation fields as if there is only one way they can interact. But now, I’d
like to elaborate that interaction.
There are in fact two ways that two expectation fields can interact:
first, if they are the same expectation, they can resonate, second, if they are
of divergent expectation, they will be discordant. Now, life fundamentally
abhors discordance, which means that the discordance will have to be
resolved somehow. But first, I’d like to elaborate the discordance a bit.
When two expectation fields interact and there is discordance, this
manifests as tension within the common expectation field just as holding
contrary ideas within the mind at the same time manifests in the body as
tension. That tension must be eliminated somehow before it produces what
is ultimately a glitch.
The time it takes for that discordance to be eliminated is called the
substitution time. If that discordance is not eliminated before it produces a
glitch, then the time it takes for the common expectation field to “correct”
the glitch is the correction time. A correction time manifests as an altered
state of higher than normal social tension.
Thus, we can say, that all bodily tension and tension created by
discordance within the common expectation field can be measured by the
concept of the substitution time.

In the above diagram, the time it takes for the group emotional
tension to return to baseline is the substitution time. The manner by which it
goes from the “peak” to the baseline is through what are called “postural
releases”. Postural releases are movements of posture which represent one
person “giving in” to the expectation field of another. Thus, a postural
release is any movement which transitions the individual from a discordant
posture or expression to a consonant one (mirroring).
The above diagram should be understood within the context of the
below diagram, which shows that mirroring within the social grouping will
degenerate as the group emotional tension increases and will resolve once
the emotional tension reaches baseline.

Now, identifying these postural releases within a social setting

provides one an opportunity to increase the likelihood of creating a glitch.
As these postural releases are necessary to eliminate the discordance
between two expectation fields, the elimination of the postural release, or its
delay, should elongate the substitution time and therefore increase the
likelihood of a correction. Using the methods described above under the
headings Postural Exercises and Social Exercises, has the effect of altering
the normal dialogue of a social exchange, thereby dislodging these postural
releases in time.
Chapter 6: Using the Mind to Glitch
The elimination of postural releases can preserve a higher state of
emotional tension in the group, but so too can holding two contradictory
ideas in the mind. There are a variety of ways this can be done. First, it can
be done in relation to an emotional state or attachment. Second, it can be
done in relation to an object.
For example, if our two actors are participating in a conversation and
one of the actors (within their own mind) conceives of two contradictory
feelings about something the other person has said or done, this would
produce a discordance between their corresponding expectation fields.
Likewise, the second actor might alter his or her orientation to some object
to produce discordance. For example, if the first actor offers the second
actor some item of food, the second actor can refuse, if the expectation is
she will accept. Finally, the second actor may possess a contradictory
feeling about the other actor themselves, love and hate, fear and attraction.
The method of creating a glitch through the mind is a form of mental
gymnastics. Recognition that the transformations that we make with our
hands are the self-same transformations we make within our minds relative
to ideas/feelings, allows one to “exercise” the mind, in such a way that it
becomes easier to produce such discordance.
There is no easy way to practice this form of glitching. But, the below
exercise will enhance one’s ability to think discordantly.
In this exercise, you will try to increase the number of contradictions
in your mind. Think about a subject that you find your mind extremely
divided in, for example politics, or religion, or spirituality, etc. Think about
the contradictory impulses that you have in one of these subjects. Let's say
you find yourself conflicted about the religion that you believe in. Whatever
it is - the more contentious the better. Focus on these thoughts, then find
some medium like the internet and read about them. Try to heighten the
division in your mind. So, if you are feeling sympathetic to one political
faction, immerse yourself in the other. As you do so, you should find the
contradictory impulses becoming more pronounced.
Chapter 7: Geometry and Orientation
This chapter is intended to elaborate how physical space relates to
mirroring, tension and how glitches arise from unique places and
orientations in space and time.
Mirroring of each other is only possible relative to some object: a
common orientation. You can only mirror someone's posture if you have a
common orientation to some object like a table or a chair. The physical
geometry of people and objects reflects the underlying conditions of
consonance.
For example, let's say there are two people meeting at a coffee shop
for the first time. Let's say there is a table and only one chair. If one sits
down, the other is left standing, and there is little chance to mirror each
other's posture to enhance the expectation field. But, if they both remain
standing, opposite each other, postural mirroring is possible, reflective of
the optimal arrangement. If one sits down, it's likely to create discordance
and prompt a divergence or antithetical emotional reaction which will
attenuate the common expectation field.
Thus, the physical arrangement of objects plays a role or reflects the
underlying conditions for resonance.
Now, not only do the arrangements of objects in space play a role but
so too does their geometry. If one person turns and puts his back to the
other, this orientation prevents mirroring. Or, if one of them turns slightly,
there is a point at which this position will impair mirroring.
Now, what if we bring a third person into the mix? Instead of one
person meeting a stranger at a coffee shop for the first time, we have two
friends and a third stranger. In the same way, this group has to optimize
their orientation in space relative to some object to enhance mirroring. The
difference is, now, we have a more complex shape or pattern to their
common orientation: we have a triangle centered on the point of common
orientation. Thus, the arrangement of groups produces optimization of
particular geometric shapes. For each increase in the number of individuals
we have a different arrangement to best maximize mirroring.
 Knowing these shapes, and manipulating them, to prevent and create
mirroring, at inopportune moments, provides one the ability to increase
substitution times, and more reliably produce glitches in groups.
Let's say two people are converging on a road driving at same speed.
On this particular road two lanes merge. That is, if they continue to mirror
each other they will crash. Thus, the road contains within it a constraint in
physical terms on where mirroring can and cannot occur. The geometric
shapes used in the construction of infrastructure plays a role in where in
physical space mirroring can and cannot occur.
If we go back to the example of two strangers meeting at a coffee
shop, with one chair at a table, this arrangement provides an opportunity.
The two might begin mirroring each other's posture, facial expressions,
vocal intimations, and then promptly one of them might sit down. And then,
casually as the mirroring decays, stand up. Thus, using objects to create
patterns and break them assists in producing longer substitutions, and
glitches.
The release and creation of tension in social situations reflects this
pattern. When two people release tension at the same time, it produces a
resonance. Thus, in our example of the two strangers at a coffee shop, one
sitting down mid-conversation, we have a situation where one has obtained
a release not shared by the other.
Individuals who desire to mirror posture and posing can only do so if
they are within line of sight. As such, the system requires that groups of
social actors engaged in mirroring form certain geometric shapes to
enhance mirroring. However, the orientation of social actors also plays a
role in their position within a geometric arrangement. It also helps us to
identify who is the “receiver” or “releaser” of social tension. This person
will also by virtue of its orientation be the person with the highest
prerelease tension.
Chapter 8: Multiplicity
Now, what are the ultimate implications of all these concepts and
ideas? What is the end goal of glitching techniques? The answer is: 1) to
produce a divergence of our expectation field from the common expectation
field and 2) to produce a separation of the plates of meaning in an
observable fashion.
Reality is a fluid construction, a patchwork construction, comprised
of the intersections of our five spatial plates and four plates of the mind
with others’.

Glitches are of two dimensions. They can be produced either by

disrupting that common expectation field, or by separating the individual
plates which comprise it. The end result of either of the two is the
production of experiences of a variety of forms including: the appearance of
doppelgangers, telepathy, synchronicity, Truman-showesque experiences,
gangstalking, precognition, body switching, the occurrence of strange or
unnatural events, the Mandela Effect, retrocausality and others.
 There is no limit to the strange and unnatural world created by
glitching. Nor is this book the end of the discussion; for there are just as
many ways to produce glitches as there are ways to skin a cat.
Volume II: Advanced Glitching
Forward
This is the second book in a series about how to create a glitch in the
matrix. I would suggest if you wish to understand the contents of this book:
the techniques and the theory, you should read the preceding book: How to
Create a Glitch in the Matrix immediately prior. Since, the bulk of the
theory which is explained in this book builds upon the theory as explicated
in the previous book, while adding some new techniques and ideas. I won’t
belabor the point, but without a full reading and absorption of the ideas
contained in this book, it will be impossible to create a glitch. That being
said, everything in this book can be adapted or extrapolated from by the
right mind. Suffice it to say, there is no one way to create a glitch, this is
merely my method, my theory and my technique. So borrow as you please,
or reinvent; what you take from this book is entirely up to you.
Chapter 1: Creating a Glitch by Focusing
It is only in the resisting the impulse to fulfill your ordinary routines
and habits that you are free to witness the extraordinary. This was the main
point of the early chapters of the previous book. Now, I’d like to apply the
same principle to a more narrow circumscribed view of human behaviour.
Although the previous book focused on the essential step of undermining
our basic routines or bodily rhythms, this book will focus on the more
minute aspects of what we do.
To start out: every action with some fulfillment in a bodily rhythm
(i.e. ingestion) in its fulfillment releases tension and dissipates the
expectations we possess. Resisting that release concentrates the expectation
and gives it more potency. Likewise, in resisting an impulse, you are
destroying the pattern to which your mind and body has become
conditioned.
Now, the tension “captured” by resisting an impulse for a release, is
“captured” within the conscious mind, unlike the tension which is
“captured” by our unconscious routines. That means, if you were to resist
consciously a basic impulse to ingest something immediately, thereby
delaying the gratification (while not altogether releasing the expectation
that you will indulge), you will “capture” the concentration of your
attention in the moment. So long as you do not “delay” the gratification to
the point of “extinction” of the impulse, you will see a corresponding
“boost” in your concentration.
Why is this important? Because, our minds are filters, and our ability
to “design” that filter is restricted by our ability to “concentrate” our
attention on a task. For example, if your mind is “focused” on the creation
of a glitch, instead of a thousand other extraneous irrelevancies, the filter of
the mind will be a more useful in sifting through the information presented
to it in your attention. By creating an artificial increase in bodily tension
within consciousness, you are increasing the likelihood of producing a
glitch.
Now, this “potentiation” of resisting impulses is only the first step.
For it is not enough to resist a single impulse for a short time to produce a
glitch, what is needed is a combination of “potency” and “laterality”. One
impulse decays as it is delayed, but an impulse alone possesses potentiality.
If impulse delay is combined with repetitious pattern breaking in lateral or
unrelated behaviours, the result is an infinitely more complex constellation
of randomness.
For example, one might have the impulse to go to the store and buy a
chocolate bar. That impulse is linked to the body’s responses including:
digestion, salivation and dopamine release. The body prepares for the
inevitable treat. However, merely delaying that gratification is not enough
to create a glitch. So, instead of merely delaying the gratification, one might
go to a store with the intention of buying a chocolate bar (honestly) and
then, right before entering the parking lot to the store, go instead into a
women’s lingerie store when one has no interest in lingerie. What would be
the effect of this change? Well, the bodily rhythms are disrupted; the brain’s
chemistry is altered; while at the same time, there is no expectation
awaiting you to fit neatly into the filter within your unconscious mind.
Instead, your attention is free to observe the minutia of a place you
shouldn’t be. What will you see, I wonder?
There is an added benefit to resisting gratification for a brief time,
namely, it disrupts the “fog” created by the bodily rhythms: the insulation
which prevents you from seeing the expectation field for what it truly is.
You will find that your consciousness will extend outward into your
extremities: they will literally become more accessible, opposable and
operable. You will find that your body feels more responsive to your
entreaties, no longer dulled by the mindless devotion to a gratification and
the corresponding rhythm. Such “liberation” from the cage of the flesh
gives one a greater opportunity to act tangentially because the body is no
longer enslaved by those rhythms.
To start the process of trying to recreate this, remember first that all
impulses are distinct and quantized and any of them, fulfilling any number
of rhythms or providing gratification of a particular kind, is an opportunity.
They need not all be redirected, but in each there is a potentiality that can
be captured. Also, remember that intention is the enemy of creating a glitch.
If you intend to depart from the plan, to act tangentially, then you will
surely fail: it is only in spontaneity that patterns can be broken.
Chapter 2: Creating a Glitch by Territoriality
In this chapter, I would like to elaborate on an idea introduced in the
preceding book in relation to a discordance within the common expectation
field. In summary, when mirroring breaks down in a social exchange, there
is a corresponding increase in social tension. That increase in social tension
is “corrected” by one of the participants exhibiting “postural releases”.
These are movements of posture or posing which represent the gradual
elimination of idiosyncratic/discordant positions/postures and their
replacement with a mirrored expression. Mirroring is ultimately about
“cooperation”. Social participants behave in such a fashion so as to produce
a lubricated social interaction through mirroring. The movements which
correspond to postural releases are movements which we unconsciously act
out to release social tension so that mirroring can continue and the
exchange continue. Eliminating postural releases increases the group
emotional tension which makes a glitch more likely. However, there are
other ways to increase this likelihood. One of them is through territoriality
with respect to physical space or objects. Ownership of an object is
antithetical to the cooperative nature of a mirroring exchange, unless there
is acquiescence or consent. Postural releases represent the unconscious
consent or acquiescence of one of the participants.
Now, territoriality with respect to objects and space is ordinarily
unconsciously decided. However, just as one can mirror or not mirror,
consciously, thereby altering the dialogue, so too can one create physical
territoriality with respect to objects or space, thereby increasing the social
tension in the group.
Using territoriality to artificially create tension can have the impact of
making a glitch more probable. For example, let’s say two individuals are
seated at a table next to each other. They each have a knife and fork. One
actor (the glitching actor), takes the nearby knife from beside the other
actor’s plate during a simple meal. He places the fork in front of him, next
to his fork. And then, after producing or observing a response in the other,
promptly returns it, while exhibiting postural releases. Such an exchange
would create tension artificially, and then release it artificially. Such
exchanges are fecund ground for creating glitches. If confronted, the actor
who took the knife could simply say it was an accident, no harm done, but
in the moment, he may observe something resembling an abnormality.
Territoriality is a larger concept as well. For each human being
possesses a kind of territoriality of space around their bodies. This space
plays a role in their conditioning, rhythms and habits. Stepping into that
space casually when it might not contextually make sense, or stepping away
from it casually when it might not make sense, has the effect of altering the
social dialogue and increasing group emotional tension. Knowing how to
manipulate this territorial space is part of creating glitches at opportune
times.
Chapter 3: Bringing It All Together
Now, how do we take the ideas summarized in the preceding chapters
and form them into a more cohesive set of directives to create a glitch?
Let’s start with postural releases. Postural releases are only possible
with a loose, vapid attention. They are only possible when one is distracted
(because by definition they are unconscious gestures). Since we know that
resisting an impulse for a short time enhances our attention and our ability
to utilize our bodies for tangential action, we know the first step. Since we
also know that the elimination of natural postural releases also increases the
likelihood of a glitch, once combined with the first step, it becomes easier
to resist these impulses. So we know the second step. Finally, combining
the tangential action with territoriality with respect to an object as in the
example in Chapter 2 would represent the best opportunity to observe a
glitch in action. These steps can be used in a consistent way to produce
glitches:
1) Find some impulse which recurs frequently.
2) Delay the gratification of the impulse while not letting it become extinct.
3) Maintain a rigid attention and concerted facial expression/posture (not
wooden, natural, but yet highly aware);
4) Act tangentially or with artificial territoriality.
Volume III: Live Dangerously
Forward
Glitching is ultimately about rebellion. It is ultimately about finding
the limits of oneself and one’s reality. It is about self-denial as much as it is
about the rejection of a pre-programmed existence. It begins with self-
analysis and ends with simply trying to retain the memories that betrayed
the otherworldly nature of existence. I am writing this book for the latter
reason, because it is no longer within me to live on the edge of what is real.
So, I produce this book as a testament to what I have seen.
It starts with the understanding that our existence is reflexive. When
one goes deeply down the rabbit hole, one begins to see that reality is a
mere projection of what is internal. But on the cusp, at the limits of our
perception, we can see that the substance of our internal mind is parallel but
continuous, held together by the external, which induces it to action. What
do I mean by this? You may be scrolling through a social media site and
find that the articles reflect your thoughts. But the question becomes: is that
because your thoughts are shaping what you see? Or is it because what you
see is shaping what you think? The reality is that when one separates the
associations between the mind and the external, what one finds is that this
synchronicity can be displaced, the end result of which is that the internal
precedes the stimuli which should have induced it.
So, what does this mean? What is the significance of this?
There are a few possibilities. First, that which we think is pre-
programmed or predestined is: such that separating our consciousness from
the externalities which induce it has the effect of liberating our stream of
consciousness in time, but not in content. Second, it is also possible that in
separating the mind from its externalities, what one is doing is separating
the self from the continuity created by an interface with intersubjective
content. To elaborate, perhaps in separating the mind from its intersection
with a cohesive outward inward experience, one is stepping into a reality
created purely for the self. In effect, escaping the intersection of one’s
conscious experience with the substance of reality has the effect of isolating
oneself in a bubble universe created purely by one’s subjectivity.
 I cannot answer this question in a definitive way. But I can grasp at
answers through other experiences.
If one escapes one’s own intentions, steps beyond the purview of
one’s gratifications, what one will find is that reality seems to take on a
peculiar shade. This bubble universe created by one’s subjectivity is not
purely one of passive observation. It is a reality which is interactive, truly
real, in its own fashion. It is a reality where individuals behave in a peculiar
fashion.
For example, one might conceive of the desire to visit a convenience
store to purchase a chocolate bar. One might, then, at the last minute, do
something different. Not a preconceived plan -mind you- but a spontaneous
change in direction, unrestricted by one’s intentions or imagination. If one
was to act in this way on a regular basis, one might find certain things
become observable.
First, it is not uncommon when one behaves in this fashion to
experience others acting in strange and unusual ways. They might chase
you, or speak to you as if they know you. They might follow you or mirror
you in unusual ways. Or they might try to direct you back on course, away
from this faulty line of thinking, back to the enclosure of your
intersubjective self. You may see or hear people doing peculiar things or
saying absurd things, which make no sense in the context. So the question
becomes, why?
Context is the foundation of uniformity. It is context which preserves
the meaning of what we experience within the gamut of our intersubjective
space. It is usual for people to make statements or do things which are
ordinary, if we contextualize their actions. The truly unusual takes place at
the wrong time or in the wrong place. There is nothing more to observing a
glitch than observing something out of time or place.
So, what is the foundation of context? Context is based upon
“ordinariness”. It is based upon “routine” or “habit” or “system” or
“organization”. It is based upon schedule. All of these things intermingle, to
create our expectations for what is and should be. Observing a reality which
is truly unusual requires nothing more or less than destroying the context.
 How does one “destroy the context”?
First of all, what is the context? Context is continuity. Context is the
common sense, ordinary reasoning behind everyday things. Context is
enclosure. Context is how we understand the meaning of statements, the
intentions of others. But context is also malleable. It is not some uniform
predictive rule. It is interactive, shaped by the intentions and emotions of
others we interact with. Context is how we rationalize the actions of others,
how we create a space for their intersection within us.
Imagine that one walks into a room and sees someone doing a
particular thing which is odd or unseemly. Now, one might discover later
the “explanation” for that thing by speaking with someone who knows the
person. One might “attach” context at a later time. But in the moment, when
one observes the strange event or occurrence, one is captivated by its
fundamental oddness. This experience tells us a few things. First, it tells us
that context can be created at any time. Second, it tells us that context arises
organically. What I mean by that is: that which is unexplained demands
explanation, and people act unintentionally, organically, towards that end.
But, what if context was an illusion? What if it is the only thing
separating a reality which is discontinuous and disjointed, from the one we
perceive as everyday life? What if “oddness” is the true nature of reality?
What if “ordinariness” is merely a façade created by this nebulous, concept
of context?
This is the true goal of glitching. To experience the true nature of
reality: with all its oddness, incongruity and ambiguity. To recognize the
fundamentally unsound structure and being of this world. To recognize that
“strangeness” is in fact truth.
Chapter 2: Cultivating the Unusual
In order to see past the veil of the usual, one must begin by pursuing,
even cultivating the unusual or unconventional in one’s life. This may be as
simple as making choices which depart from the conventional or culturally
appropriate. But the most direct, practical way of cultivating the unusual is
in the recognition of patterns within a socially interacting group. For
example, let’s say you sit in a public auditorium. Let’s say on this particular
day the air conditioning isn’t working in the building and the room is hot
and humid. Context would tell us that when the group seated in the
auditorium takes off their jackets, it is an appropriate response, explained
by the weather that day. But what if one chooses to keep one’s jacket on?
What is the result?
First of all, cultivating the unusual requires some element of self-
denial. To truly stretch the context, one must recognize that acting in
accordance with one’s impulses at all times is fatal. No, to stretch the
context, one must recognize and redirect one’s impulses. The environment
in which we live is the beginning of our entanglement in context. When we
react “appropriately”, we are falling into a stream of conscious continuity
created by the unification of intersubjective minds.
All of sociality, all of the patterns in towns, cities, countries and
world wide, created by the patterns of the moon and stars, the sun, the
weather, the seasons, they all contribute in our reactions to the creation of a
fabric of contextual ordinariness, which must be deposed in order to
experience the true strangeness of being.
As the sun rises, people wake from sleep from one side of the globe
to the other like a wave. They begin their daily routines, make coffee, bath
or shower, go to work. Every one of these actions represents some
conformity with some conventionality. But in a more visceral sense, the
parallel actions of all these people are an anchor for the substance of
context. For context does not exist in and of itself. It is merely a
construction of the “sameness” between people. Nevertheless, these
patterns, created by our responses to our environment, provide our
experience a kind of momentum. It is only in the puncturing of this fabric
that we are able to experience the truth.
What are the levels or cycles in the environment that produce these
patterns? The exact description of these cycles is beyond the purview of this
book. But a few of them are explained by the diagram below, which shows
merely some of the environmental cycles that produce patterns within the
routines of humanity.

Just as in the first book in the series, it is necessary to undermine the

influence of these cycles in one’s life in order to experience the
inexplicable.
It is also not enough to merely undermine the patterns of our lives to
experience a glitch. A glitch must emerge, be cultivated and reveal what is
hidden behind the veil. But a glitch always begins with a clue, a
signification of the presence of a larger puzzle. What kinds of clues do
glitches leave? They leave smells, sounds, traces in objects and things. For
example, one may leave a room and return only to find a foul smell that
wasn’t there moments before. Perhaps it smells like paint or marijuana.
Perhaps one finds something in a place it shouldn’t be. These are all clues
which reveal the hidden workings of the world outside our observation.
Suffice it to say, when we are not present to observe, reality pays mere lip
service to our expectations. But beneath that veneer, there is a deeper truth,
a more absurd reality, hiding in the shadows.
For example, one may leave one’s place of work for lunch. As one
leaves, one may see one’s coworkers behaving appropriately for a place of
work. But when one returns, one finds a pool of spilled fluid on the floor,
which, if one investigates, one finds it to be alcohol of some kind. Or one
may smell the smell of marijuana in one’s office. Or one may find a stay
blonde hair on one’s keyboard. These are the kinds of things one must look
for and most importantly NOT DISMISS. For they are the harbingers of
what goes on in the secret world beyond our expectations. Now, I am not
saying that people don’t behave oddly when we are not looking. What I am
saying is our expectations of people’s behaviour is fundamentally divorced
from the reality created by our lack of observation.
Imagine, if for a moment, that the expectations of the world in which
we think we live, with all its ordinariness, is nothing more than the fabric of
context, the artificial veneer of normality created by our complacency. And
in fact, this seemingly ordered world possesses no more true substance
beyond our observation than does the ether. If you understand this point,
then you understand what it is to perceive beyond the veil.
The next step after finding those clues is to work backwards from
them, draw inferences from the outlier to the unusual. How does one begin
to do this? If one smells marijuana or finds alcohol in a place it shouldn’t
be, such as a workplace, then one must assume that the reality which one
has left is one in which it is not unusual. Perhaps one thinks that one works
in an office, but it is in fact a university dormitory. One thinks that one is a
professional working for an employer, but one is in fact, a student. The
narratives produced by working backwards are myriad, but only one is true,
and finding the truth is revealed by acquiring more insight and observation
into what lies beyond the veil.
Fundamentally, peering behind the veil is about allowing the mind to
travel into the imperceptible. The imagination is not merely a place of
fantasy, but a place of projection. Allowing oneself to look backwards in
time, through the clues that one might find, through inference, through
extrapolation, gives one perception beyond one’s presence. One’s
imagination might reveal a narrative explaining the clues, only to find that
more clues present themselves, in support of a particular narrative. Thus,
through small steps, one can look into the space created by one’s absence,
and observe the unobservable.
In time, one will see that every social exchange, every gesture or
movement of the body, reveals some narrative, some clue. A person might
cough and turn their head, as if to speak to another person standing nearby,
but not say a word, at least, to your observation, only for you to work
backwards, from the order that results, to the truth. Yes, indeed, that man
did say something to that woman. But what did he say? The question
becomes what order did result? Is it possible that he was offering to let her
pass? It is this kind of thinking which is necessary to allow the unusual into
one’s life, into one’s perceptions.
Conclusion
It cannot be said that to create a glitch is not at its root a truly
dangerous activity. In order to create a glitch, one must travel where one has
never been, do what one has never done, escape the limitations of one’s
expectations and perceptions. One must act more quickly than one can
think. One must do more actively then one cannot. In practice, what this
means is that one must take risks. One must go where one has never been or
would not be allowed to go.
Glitching is about bending the rules of sociality; the rules created by
an ordered society and an ordinary way of life. If that means one has to go
into the washroom of the opposite gender, then do so. If that means one has
to ignore the boundaries of ordinary social conversation, then do so. One
must always stretch the limits of one’s perception by rebelling against the
ordinary if one is to see the truth.
Volume IV: The Gateway
Forward
This is the fourth volume on the subject of how to create glitches in
the matrix. This volume will focus on some of the more esoteric concepts
suggested by the first book in the series and will build upon the ideas
contained in that book. Suffice it to say, this volume will be more difficult
to understand and will require a review of the previous volumes to make the
ideas more accessible to the reader. I will follow the same basic structure of
the previous books and will include some diagrams to assist the reader in
understanding the content.
Chapter 1: Gateways
To begin, it is necessary to introduce a new concept into the subject
matter to properly explain the ideas and techniques that I am going to put
forward in this volume. To understand this concept, you must conceive
again of a reality in which one exists in a kind of intersubjective space
created by our expectations and the conjoining expectations of others.
This intersubjectivity permits us to “step-in-to” or move in proximity
to others, without necessarily existing within their state of mind.
Nevertheless, one can “escape” this intersubjectivity by “stepping-out-of”
one’s expectation field, through the preparatory and other methods
explained in the previous volumes. “Stepping-out-of” one’s expectation
field preserves oneself in a kind of “bubble universe” wherein one might
observe the unusual. In this state, one might perceive that reality seems to
mirror one’s thoughts, or that it seems out of time, like a cog in a watch
which has popped out of its lodgings. It is in such a state that one might
observe many glitches in every day life.
But that is not the whole of the story. For in our intersubjectivity,
there are lessons to be learned. And those lessons will be the subject of this
volume.
The main concept I want to explore is that of a Gateway. A gateway
is an intersection point between two disparate selves within the
intersubjective matrix reality. A gateway can be of nine different forms,
which will be the subject matter of the next chapter. But, for this chapter, it
is sufficient to know and accept that a common feeling about anything
creates a gateway between two observing minds.
For example, let’s say that two individuals are watching the same
television program. They are experiencing some aspect of reality in parallel.
This creates a linkage between their intersubjective subjectivity. That
linkage is like a port in a computer: it is a passageway that allows for the
exchange of common thoughts and feelings in their unconscious minds.
Now, gateways are important for a couple of reasons. First of all, they
produce synchronicity. Second of all, they can be exploited to produce
glitches in reality. Third of all, there are higher forms of gateways that can
be opened, leading to an even more unusual experience of reality.
How do gateways produce synchronicity? A gateway always precedes
a random encounter between two people. Every intersection is compelled
by the existence of these “linkages” between us. It may be something
completely unrelated to the conversation or nature of the interaction which
results, but nevertheless, there will ultimately be some connection between
the preceding thoughts/feelings of two individuals who meet in a random
encounter.
Let me give you an example. Two people meet in a coffee shop by
accident: one asks another to borrow his or her pen. What they don’t know
is that the reason they are both in that coffee shop at that particular time is
because the day before they were both shopping for cars and admired the
same model/make. Part of the fun of truly random encounters between
people is finding the linkage that drew them together. Learning to search
one’s mind for these linkages is part of predicting them. Once one perceives
that one’s thoughts may cause the truly random, one can use this knowledge
to think in a new way: one can work backwards from the encounter and find
the thought or feeling that induced it. Once one has developed this sense, it
becomes easier to see that in fact nothing is truly random, no encounter, no
outcome, and that everything is set in place ahead of us. Once one has
perceived this, it becomes possible to see how the tangential action can
succeed in producing the truly unusual. For synchronicity is something that
must be escaped to see the truth – not embraced – not permanently mind
you, but for a time here and there.
The second point outlined in my earlier paragraph requires further
exposition. To explain this point, I will use the example I raised earlier of a
port in a computer. There are a few ways to produce “Lag” in a computer
game. I’ll give you a few examples. One, you can overload the game with
data. Two, you can have an “intermittent connection”.
As I likened these gateways to ports, imagine for a second that you
desired to produce “lag” in reality. How would you go about doing that?
First of all, it might not be possible to “overload” the connection. However,
it is possible to “manipulate” the connection so it is intermittent. This is one
of the goals of glitching.
As explained in the first volume of these books, there are some
techniques which make glitches or the unusual more likely. One such
example given in the first volume was that of inopportune “mirroring” in
social situations. This works as follows: mirroring someone produces a
gateway because it produces a common orientation in space relative to
some object as well as continuity between your actions and theirs. What if
you could “open and close” the gateway just as you would “open and close”
the port?
Mirroring someone in a social situation when it would be
inappropriate and not mirroring them when it is appropriate, alternating
between mirroring and not mirroring (once the pattern is formed, breaking
it) has the effect of increasing the “social latency” of the interaction. This is
very much like opening and closing of a port in a computer.
But there are myriad ways to produce gateways in a social setting just
as there are myriad ways to eliminate them. One must learn to produce
common feelings when they don’t exist and eliminate them when they do.
This can be done spatially, through mirroring, or relative to an object, or it
can be done by conformity with common expectations and reactions to the
environment. Very much like in the previous volume, where the individual
refused to remove his jacket in a warm room, utilizing social expectations
and reactions to produce consonance or discontinuities between one’s
actions and others, repeatedly, has the effect of producing the unusual.
Finally, there are “hidden” gateways which exist within our
consciousness, which we can open to experience a different kind of reality.
These are called the Esoteric Gates and are the subject of the final chapter
of this volume.
Chapter 2: Forms of Gateways
Gateways have a hierarchy which corresponds to the intersection
points between our mind and others. There are nine forms of gateways: five
corresponding to our bodies and four corresponding to our minds. Below,
you will see the five spatial gateways. These are the gateways which
correspond to our bodies and how our bodies intersect with others in the
intersubjective space.

First is the gateway of spatial location. Individuals who exist in a

similar point in space experience reality to some degree the same way.
Spatial location includes both orientation in space and position in space.
The closer one’s orientation and position in space, the greater the overlap
between two individuals’ subjective experience of reality.
Second, is the voice. The voice expresses our emotion and through
emphasis: meaning. It is through our voices that we express complex ideas
and emotions to others. It is through our voice that we telegraph to the
world how we feel in general and specifically how we feel about what we
and others have said. It reveals the “tension” level in our bodies, which is
also important.
Third, is body posture. Body posture reflects how we have oriented
ourselves in space physically. It also has an expressive component by
underscoring our emotional reactions and through body language both our
conscious and unconscious emotional states.
Fourth, is the face, eyes, ears and nose. This is the primary contact
point between our expression and others. It is through our face that we
express our emotions and our reactions. It is how we sense the world
around us. Our eyes telegraph to the world what we are seeing: what our
subjectivity is focused on. They also betray relevant human qualities such
as attention.
Fifth, are the hands. The hands possess utility both through the
“possession” of objects and the expression of complex ideas and concepts.
Our hands are carriers of emotional tension.
Now, these basic five levels do not- in and of themselves- exist as
gateways. Rather, they are the carriers of meaning and feeling, and through
that agency produce gateways between minds. Any one of them either: a)
represents a feeling or b) represents some coordinate of our experience of
our subjective reality at a given time. And in so doing, they represent the
key mediums through which we are able to intersect with others in the
intersubjective space.
Now, there are also four additional gateways which correspond to the
mind. These gateways relate to how we feel relative to ideas and concepts.
This is important because a gateway can just as easily be created with an
idea as it can with a physical object.
I’ll describe each in turn. First, the emotional is the contact point
between our minds and the spatial reality we experience. It corresponds to
our bare emotional reaction to something whether physical or intellectual. It
has a basic vocabulary which corresponds to the emotions we all know.
 Second, is the archetypal, which corresponds to the essential “roles”
of human sociality: such as mother, father, sister, brother, uncle, as well as
roles within a community such as hunter, fisherman, shepherd, and roles
within a social dynamic, such as joker, fool, etc. There are many archetypes
but they are finite: the bedrock of human sociality preserved by thousands
of generations, across societies and cultures.
Third, there is the symbolic. This corresponds to symbolic objects
and reasoning. It also includes idealization of archetypes. Anything can be a
symbol of something, but many are simply of opposing orientations.

Finally, there is the esoteric, which incorporates the symbolic. The

esoteric is the most important form of gateway because it permits one
access to a different kind of reality- once opened. It will be the subject of
the next chapter.
Chapter 3: The Esoteric Gates
It is easy to see that human sociality is constructed upon the use of
certain objects which have importance both socially and with regards to
human survival. These are the “tools” that we have crafted over the many
thousands of years since our consciousness developed to survive and
communicate. It is easy to see that these basic tools, a fundamental
vocabulary of inventions, represents something essential and meaningful for
our species. But, it is more than that. The esoteric gates are objects which
have a higher significance because they have altered the engineering of
sociality and ultimately directed the course of our experience of this reality.
These objects have often, throughout the centuries, had symbolic,
ritualistic and spiritual significance for a reason. They represent the basic
building blocks of human sociality. But more importantly, they have
fundamentally changed the way that we interact, what synchronicity results
and how we experience this reality.
I’ll start with the most basic of inventions: the room. A room can be a
physical structure or a manmade invention. It can be a hut or a cave. It can
be a building or a church. A room is simply a place where two people can
meet and share the same subjective experience. It is a common substrate. A
room has significance as an esoteric gate because it is ingrained in every
social society of human beings. We all know what a room is, regardless of
culture or language or race. We all experience the same “stream” of reality
once we enter that room. The only difference is a finite number of
orientations and locations: a finite or exclusive capacity for human
expression.
Next, beyond the esoteric gate of the room, is the esoteric gate of the
door. A door represents an entry point into a room, a place through which
one can transit from a spatial space of near unlimited subjectivity to one of
limited subjectivity. A door may have capacity for two, even three, but at
some point, it ceases to be a door. A doorway is entrance point, a portal, a
port, through which exchange may occur, whether of ideas or objects. A
doorway is a vantage point, an exit, a place of transit.
 Now that I’ve given you a few examples. Let me explain the
significance. These structures, or inventions, are “built-in-to” the
fundamental architecture of reality. We think that a doorway is just a
physical object, but what is in fact is a structure embedded in our psyches.
If one begins to see that a door and a room are nothing more than
abstractions, which are built into the architecture of the common mind, one
can see that the physical constraints we impose upon them are in fact
nothing more than constraints within our own minds.
Imagine stepping through a doorway and travelling from a room in
the US to a room in London. Imagine that sharing a room meant seeing
through another’s eyes. Opening the esoteric gateways means recognizing
that we did not invent these things. We merely constructed something which
existed and had esoteric significance before. Just as one builds a physical
reality around oneself to manipulate one’s experience, so too can one, using
these self-same technologies, build a subjective stream of experience that
defies objectivity. The limits of spatiality exist only in our minds’, created
by our upside-down view of existence. The objective doesn’t exist first: the
subjective overrides the objective.
Part of opening the esoteric gates involves separating oneself from the
intersubjective reality that we all accept as the basis for existence. Once one
has distinguished one’s bubble universe, it becomes possible to impose
one’s internal architecture upon the objective. A doorway may separate one
room from the next, but it is also the embodiment of an idea which once
understood can open the mind to a whole new kind of subjective
experience.
I’ll end this volume with a short list of esoteric technologies which
must be incorporated into one’s understanding of glitching and reality to
truly experience the potential of the mind: the room, the door, the road/path,
the pen, the sword, the horn, the wreath, the wheel, the staff, the rope, etc.
There are many more, but you will have to find them on your own. This is
only an introduction. The rest is up to you.
Volume V: The Architecture of Reality
Forward
This is the fifth volume of the series: How to Create a Glitch in the
Matrix. The purpose of this volume is to elaborate the design of the system
and to describe the steps towards the mastery of it.
It begins with the idea presented in previous volumes, namely, that
reality is a construct which ultimately reflects our impulses. And it ends
with the realization that the mastery of those impulses reveals the mastery
of creation itself.
Chapter 1
Imagine that creation is a vast clockwork constructed out of cogs and
wheels. It shouldn’t be too hard, because this is a common conception. But
imagine for a moment that those cogs and wheels, the contact points
between space and time, are in actuality the interactions between people. In
this cosmic drama, conscious beings are the centerfold of existence. I do not
mean to say that existence purely revolves around the substance of
consciousness. More precisely, our perception of reality, our consciousness,
through which we interpret the clockwork that is creation, operates through
the lens created by our interactions with each other.
The previous volumes of these books described in great detail a kind
of architecture. It was variously described as plates or shells of routine,
habit and meaning. However, the purpose of understanding that architecture
wasn’t provided with full clarity. I will endeavour to do that with this
book. Imagine for a moment that each of us exists in a kind of
physical structure comprised of the various shells or plates. These truly
physical structures are rather like the interface with which our
consciousness interacts with the substance of being and the consciousness
of others.
Very much like a cog or wheel within a clock is designed to intersect with
other cogs and wheels according to its design, so too do these “shells” or
“plates” act as to create conjoining experiences with other “shells” or
“plates” at particular times. The mechanism through which this occurs is as
described in a previous volume: the higher phrases the lower. Thus, an
intersection between two consciousnesses in the plate of spatial location
must be preceded by an emotional gateway. Just as, an esoteric gate
precedes a symbolic intersection and a symbolic an archetypal.
What does this mean in practice? It means that, for example, two
individuals who link up in the plate of spatial intersection have a pre-
existing emotional gateway relative to some object or idea. Thus, in our
example, two strangers who meet in the coffee shop will (as an example)
have admired the same classic car the day before. As another example, two
individuals will experience an emotional intersection because they share an
archetypal orientation. So, for example, they will intersect emotionally,
relative to some object or idea, because they share the same archetypal
connection. So, for example, two lawyers will develop contrary legal
arguments (emotional intersection) in response to an archetypal gateway
(the archetype of the lawyer). Of course, it is trite to say that, but I am not
speaking in terms of conventionalities. What I am saying is the direction of
causation through these plates is constantly shifting from the esoteric down,
such that, if one learns to observe one’s thoughts, one can see in the very
moment of a social interaction how the intersections have occurred.
Imagine for a moment that one were to develop the ability to
comprehend the very depths and heights of one’s mind. Imagine that in this
comprehension, one could see that each thought, manifesting in its
particular plate, induces an intersection with another in the lower. Once one
is able to conceive of this in literal terms, it becomes possible to witness the
congruity of each dimension of a social exchange as a direct consequence
of the higher’s phrasing.
So for example, a person sits in a conference room, which is being
used as a classroom for students. During this class, the teacher uses a cup as
an allegorical device to express to the students the need to empty their
consciousness, so that it may be filled once again (with knowledge). This is
an esoteric gateway. Next, the symbolic, the students write the lessons of
the “good” teacher. Then, the archetypal must follow, the students
assemble, all being students, under the tutelage of the teacher. And then, the
emotional, the comprehension of the students in grasping the lesson. Next,
the spatial intersection of the students and teacher in that particular
classroom. Afterwards, the voice of the teacher speaking the words of his or
her lesson. Next, the posture of the students, seated in their chairs around
the table, which is a point of common orientation. Then, their facial
expressions, expressing the moment of comprehension. Finally, their hands,
moving as they write.
Now, the esoteric comes first. So it may be that all these students and
the teacher have schedules which allow them to know where they are
supposed to be at a particular time. But in truth, the only reason they are
even there is because the teacher used the language to express the allegory
of the cup. Think about that for a second. Think about the implications of
this idea: that 20-30 students and a teacher are all present, learning, writing,
sitting with the same posture, because of the causal chain created from the
words: “Empty your cup”. Once you begin to understand this idea, you are
close to appreciating the mastery of creation itself.
Chapter 2
Now, it is not enough to merely say the right words at the right time
to produce such alignments. The reason is that we are all entangled in a
complex web of intersections every moment of every day. We do not exist
in the esoteric, unless we are able to elevate ourselves to it. So, we must go
back to the basics, back to the beginning: from what stems our intersection
with the system? Our impulses. Our impulses direct us here and there, and
our impulses are likewise directed at the very top by the esoteric. So,
although our impulses orchestrate our lives, arranging us, as players on a
stage, they are the mere vestiges of something higher.
How does one escape one’s impulses? How does one direct them? For
the person who masters their own impulses has the power to shape creation
as he or she wills. Not in the sense of rearranging the pieces of the puzzle,
or the players on the stage, but in the sense of choosing what direction it
may go.
Imagine for a moment that one goes to a hockey game. Imagine for a
moment that one could rewind the play, so to speak, to a particular moment,
and imagine for a moment that one could choose a point at which it should
divert from its predicted course. That person would not be a watchmaker,
no, because he or she could not shape the substance of being itself,
rearrange it, reorder it, but very much like a watch repairman, he or she
could “fine tune it”.
There is a moment in every person’s life where he or she realizes that
they are in control of the outcome. Not in the sense of being in POWER but
in the sense of truly being IN CONTROL of how an event turns out. In that
moment, this person has the ability to choose to accept that responsibility or
to not to.
Again, I am not talking about control in a trivial sense. I am not
talking about words or action. I am saying that in ONE MOMENT in every
person’s life, their impulses are reflected in the substance of being. And in
THAT MOMENT that person can accept responsibility for EVERYTHING
AND EVERYONE. And if they choose to accept that, then the resonance of
their impulses with reality itself will direct the course of history. But it is a
terrible responsibility for one to accept: to know that each and every action
that one does will determine the difference between life and death (and
suffering) for some of us.
So, how do we understand these impulses? How do we begin to see
that our impulses are dictating the results of events nominally outside our
control? The answer is to recognize that in one’s life a person develop
habits of self-hatred and self-love. These two impulses produce a veritable
abundance of feelings and responses as we interact with the world around
us. Perhaps you have fallen in love with sadness? Then, a part of you will
dictate reality to produce scenarios that bring out sadness in your life.
Perhaps another person has fallen in love with happiness, then, their
impulses will direct reality in a certain way. No one’s impulses are uniform,
but the self-defeating, fatalistic attitude tends to produce events which
confirm it, just as the optimistic self-loving attitude creates situations that
bring it out.
Now, imagine these impulses are strings, and the world is your vast
puppet show. Contrary impulses twist people this way and that, while
unified homogenous impulses create a smooth delivery. Creating glitches is
fundamentally about bringing out the hidden nature of reality so it can be
observed. But, to shape reality, one must purify one’s self in a particular
way, so that one’s impulses are seamless. Revealing that this is the truth
shows one that we are all part of our own Truman show reality.
Chapter 3
Now, in a previous volume I wrote about how various rhythms also
create uniformity in the subjective experience of social participants. I
provided a diagram, I have reproduced below, to show some of these cycles
(as I said the full extent of these cycles is beyond the scope of these books).
What I neglected to explain is how these cycles interact with the
various plates described in the first diagram in this volume. So, I will do so
here.

To return to the basics, a gateway is created whenever two people

experience the substance of reality the same way. It is created in relation to
a common object or idea. There are a number of ways that these cycles
create gateways. First of all, each of these cycles alters one’s orientation in
space relative to another person. For example, two people on opposite sides
of the globe will experience a distinct rotational orientation relative to the
surface of the earth (or any object on it), and hence, the sun. This rotational
orientation will give them a slightly rotated experience of reality. For
example, just as the coriolis force produces distinct orientations to the flow
of air and water on opposing sides of the globe, so too will it produce a
slightly rotated experience of certain things. This means that the nature of
the gateway relative to these experiences is local as opposed to global.
Second of all, the rotation of the earth provides the presence or
absence of sunlight at particular locations and creates the orderly movement
of time (or the appearance of it). This creates local patterns in the habits and
routines of social actors, which again, gives preference to local as opposed
to global trends.
The lesson we learn from these thoughts is that the rhythms or
patterns of nature localize gateway formation or give precedence to local
over global streams of experience. But they also produce trends because of
the distinct manner by which these trends flow through the milieu of the
earth. The manner of involvement of these rhythms in the intersection of
minds on earth is to fragment or localize experience. This of course makes
sense, because if the world was flat and powered by an artificial source of
light directly above it, we would all have the same experience of time, light,
darkness, season, etc. In that case, the unification of our minds through
common experience would create a uniformity of reality unlike the one we
currently have.
More importantly, it is this localization of experience through the
action of the various celestial rhythms that makes glitching possible through
local action. It is dimension that gives consciousness the appearance of
division, not anything intrinsic. Consciousness in a dimensionless universe
would be unified.
In other words, the direction of causation in the rhythms of the
universe is inverted. It flows outward from global to local. The direction of
causation within the rhythms or plates is inward, and globalizes experience.
This dichotomy can be understood in the below diagram.
 Of course, it is important to note that the cycles on the right are not
the physical, spatial structures of the universe itself, but rather their impact
on human sociality, rhythm and habit.
Now, if we go back to my writings on the nature of glitches, we see
that among the experiences that glitching can produce is the retrocausal
event. The question becomes, why would glitching produce such an event?
If we think of the example I gave of the students in the classroom,
where the teacher uses the allegory of the cup to initiate his discourse, we
can see the causal order of events is not the same as the temporal order of
events. So, we see that the allegory of the cup initiates the causal chain.
This means that ultimately the joining of the students in the location of the
classroom is caused by the allegory being understood within their minds.
One is a direct consequence of the other. So, all the events which preceded
the students gathering their belongings, getting up in the morning, every
little detail of their day which allowed them to reach the classroom on time
to hear that allegory, must have occurred. This means the buses were on
time that morning because of the allegory. This means the students woke up
on time for that class because of that allegory. It also means that the
direction of causation is not the same as the direction of time. We may think
that A precedes B when in fact causally it may follow B.
So, earlier in the volumes, when I mentioned retrocausal events, in
fact, what I was writing about were retrotemporal not retrocausal. In effect,
by elevating your consciousness to the esoteric, your “vision” is focused on
the next step in the causal chain, as opposed to what would ordinarily be the
next temporal step in the chain.
Chapter 4
The techniques described in the earlier volumes of this book must be
understood in the context of the explanation in this volume. First, we know
that reality can be described as an “expectation field”, which is conditioned
by our bodily rhythms and the celestial rhythms which impact us. We know
that the tension in our body is released or concentrated by the degree to
which we resist an impulse. We also know that our impulses shape the
outcome of what ultimately occurs. We know that a common feeling
relative to some object creates a spatial intersection. And we know that an
archetypal alignment produces a common feeling. Likewise, we know that a
symbolic (oriented) symbol induces an archetypal alignment. And finally,
we know that the esoteric objects and narratives set the whole system in
motion.
Now, it is interesting to note that the symbolic and the celestial have
been frequently intertwined by mythology. It is also interesting to note that
the esoteric is frequently associated with these narratives. And there’s the
rub because the reality is that the esoteric, symbolic and mythological are
inextricably intertwined. These narratives, the narratives of Gods and
Angels and Demons are the narratives which underlie the coding of this
reality. They are the causal beginnings of our species and the unifying
narratives of human sociality. They are embedded in the DNA of our
consciousness, collective history, and story. We continue to act out these
stories within our societies thousands of years after their inception,
repeating the same patterns time and time again. This is the ultimate truth of
the simulation: that our mythologies are the code underlying the code, the
causal impetus for human events. I am not suggesting that this is a new
science, but rather that it is an old one.
It is important to also note that the celestial rhythms are common
locally. That is to say, they are also a local interface which unifies the
rhythms of those in a particular place at a particular time. Likewise, the
esoteric globalizes experience just as the celestial rhythms localize it. Think
of it this way, in the material plane, the plane which impacts us through the
celestial rhythms, causation is reductive. In the plane of the mind, the plane
which impacts us through our bodily rhythms, causation is holistic. The
strands of existence can be thus balanced by these two competing forces.
Ultimately however, the relationship between these two sets of rhythms is
not necessarily balanced. Most individuals live their whole lives in the
bubble of a reductive reaction to the celestial rhythms. For most of us, our
sleep patterns are conditioned by the stars and sun. When we eat, what we
eat, even when we must use the washroom, is conditioned by the stars. But
it need not necessarily be so, for each of us have a choice to dislodge these
patterns from our behaviour if we so choose, embracing the holistic and
esoteric direction of causality.
These moments, when one has stepped out of the conditioned
rhythms and expectation field are moments when one can see the incursion
of higher order meaning into one’s life. One can witness the reconditioning
of one’s body to a new normal. And in the bubble universe created by pure
subjectivity, one realizes that distinct narratives exist in the same space with
the same actors. One can understand that what one expects to be happening
is oftentimes disconnected from reality and conventionality. It is the
reductive nature of the celestial rhythms that gives the substance of the
system its corrugated nature. But the interlocking points of the architecture
are the actors themselves. We are the vertices of the matrix and roles are the
lines. Stepping in and out of an archetype grants one passage into a distinct
experience of reality.
Our impulses are shaped reflexively by the celestial rhythms,
conditioned by them, while our bodily rhythms create an array of them
which extend outward from us. These impulses are “reigned in” by our
acting upon them. We are localized by them. In resisting them, they become
separate or distinct, spreading outward from us and interacting with the
communal expectation field. Through this we attain community, but it is an
egoistic community, an inverted state, where our minds chafe at their
interactions with others. They create focused, coiled expectations of others.
In this subjectivity bubble, we can perceive things only through the lens of
our egoistic impulses, divorced from the common expectation field. And in
that place, we can experience many strange and unusual things. But it is not
a place you should want to stay, albeit tempting, because it can also be a
place of nightmares and delusion.
 So, I will conclude this volume by stating that there are only two
rules to stop glitching: 1) play the role you have been assigned by others in
every context, 2) be grateful and remember that your perceptions are
malleable, reality is what you make it.