intel - somnus

8/10/2019 Intel - Somnus

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A

A is the waking state.

B


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which bears the burden,

which holds something on its

back. B is in essence also theviolation of the Boundary.

Something surges forth, but

is blocked behind a barrier;pressure builds up; it bulges;

it bursts. Bang!


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D

D is the Door, the Gate inmid-stream, the divider.

Water flows overwhelmingly

downwardtoward the Deep,and just at the mid-point

something checks it. Implicit

in D is always a preexistingprocessthat longs to follow

its course, to flow to the sea.


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At the end of a word, D more

frequently sends things on

their way. But at thebeginning, it generally

diminishes the force, darkens

the light, dampens the soundDrag, Drawl, Dribble,

dribble, dribble, drip. D is

not powerful enough to

actually kill a process, but it

is the English symbol ofdeath. Where B asks 'To Be

or not to Be?", D asks "To Do

or to Die?"


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E

E - Square.

G


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G is the Grail, the Void from

which all things are givenand into which all things

eventually go. It is the

Groundfrom which we

mysteriously grow, the

invisible Source. It is theLetter of the Throat. Its

bottom is too deep to be seen

Its light is reflected. Itsglances sidelong. B begins

the process; D checks it; and


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G is the process itself

ongoing. More often than

not, English experiencesimbalance with respect to

Giving and Getting in the

face of this vast and invisibleplace. It either gets greedy,

filling itself with gunk and

goo and gaudy garbage. A

third of G reflects too much

of something where it doesn'treally belong. And another

third reflects not enough

where it's desperately


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needed: it is gaunt, gloomy,

grumbling, the grave, the

gallows. But there remains aset of words which reflect a

very specific sense of

balance and a grandeur whichis not to be found anywhere

else in the English language:

Goodness, Gladness, the

Graceof God.


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P

P is the Place, the singlePoint, the sound of precision

L has the power to spread the

Point into a Plane (plate,plateau, plaque). Things are

pulled from and placed on an


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exact position. This point is

punched, pushed and pricked

P focusses the mind on thisPoint and speaks to it. B

merely explodes and cares

not a whit where it lands. Ingeneral, the unvoiced sounds

are tidier, smarter, less

violent, more socially aware

than their unvoiced

counterparts. They are morepreoccupied with form: with

position, shape and texture.

Where the voiced stops break


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the One into the many, the

unvoiced stops are the many

which seek back to the One.The voiced stops speak from

the viewpoint of God; they

live in the realm withoutform (Being, Doing, Grace).

The unvoiced stops, however

speak from the viewpoint of

man (prayer, trying, seeking,

capabilities). So B goes fromthe One to the Two, but P is

centered in this world, like

the other unvoiced


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consonants. It is the prayer

from the many back to the

One. And it seeks to reach itsmark by clear and accurate

thinking. The velar

consonants (g, k, h, ng) allhave a hidden, invisible or

secretive side, but with

labials, everything is out on

the table. For this reason, P

never resorts to intuition. Kplays cards, but P is the

problem solver. It ponders,

plans, pieces things together,


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projects, makes a pilot

project. Whereas in B the

barrier is violated by anexplosion (boom, bang,

break), in P it is pierced with

a long sharp instrument(pierce, prick, pin, puncture).

And whereas the typically

labial 'subordinate' in B

remains adjoined to its

Source (base, bottom, back),in P, it is separated. It is a

mapping, a representation, a

puppet, a picture, a


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replacement, a pawn. It

concerns position. Something

is put in the place ofsomething else. It looks the

same, but it's not.

T


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T is the Tendency: to, until,

toward, tele-, trans-.

Whereas D concerns theintensity of its process, T is

only concerned with its

location, its focus, fromwhere towhere. It touches

something in order to direct

it toward a specific end. It

teaches. It has a task in hand.

It knows where it's headed.But there's no indication as to

whether it actually gets there

T is always en route. P


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ponders. T teachesand

trains. And K actually can.

When R appears right behindit, it sends T travellingon a

tripalong a precise track.

But when the R appears afterthe vowel, it loses control . It

turnsand tearsand finds the

combination terrifying. The

voiced D divides the One into

two, but the Two of unvoicedT counts up. It puts separate

pieces together and makes

two. The duality in the


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labials is not about a number

It is a side-effect of a

hierarchy. But the twoness ofthe dentals, D and T concerns

an actual number. The

number two is implicit in theline which one finds in all the

dentals (d, t, dh. z, th, s, j, ch

n, r, l). Two points make a

line.


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K

K is a Container, anenclosed space with a small

opening and a cover. Like all

the velars, K is three-dimensional. The dentals are

two-dimensional, and the


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labials are one-dimensional.

Speaking as a computer

programmer, the labials arefor expressing hierarchy or

level; the dentals are

pointers; and the velars arefor typing or classification.

And as is the case with all the

unvoiced sounds, there is an

effortfulness in K, a seeking.

It's not content merely to be.Because K is a velar, this

effortfulness is directed

inward. In the case of labials


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the effortfulness is directed

outward. In the case of

unvoiced dentals, theeffortfulness is directed from

one point to another along a

line. K is the sound ofclosing in, closing out,

collecting, catching, culling,

keeping. Inside this space are

our intimates, the members

of our clan, the kings andcommittees. Outside are the

clownsand commoners -

those from whom we have


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secrets in order to reach its

aim. G, on the other hand,

gives and gets and doesn'tknow or care what the result

of its actions are as seen

from the world.

U

U is the dream state.


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V

V is smooth and vibratory

energywhich is channelledfrom within a container

(vase) through a very narrow

opening (veil, valve) outward(view, vista). Unlike the

stopped labials B and P, there


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is no barrier implicit in V. It

runs along a continuum, but

it is veryfar toward one end.Its labial bias is felt in this

way. It veersto one side. It

avoidsthe impediments. Aswith all the fricatives, we are

in the midst of an ongoing

process in V which does not

begin at any point as it does

in B and P, nor is interruptedin midstream as with D, nor

is directed anywhere specific

as with T, nor is gathered or


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collected anywhere as in G

and K. B stands still and

supports from below. Pstands still and propsthings

upfrom the side. But V runs

alongside in unendingservice, the vassal, the valet.

And V is judgemental. It

thinks in terms of virtue and

vice. When P errs, it errs on

the side of conservatism, forit is unvoiced. It is prudish,

picky and preachy. V like B

is voiced and errs from


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excess. Whereas B's

transgressions are merely

behavioral, V's are of theessence. B is bad. It breaks

the societal boundaries and

regulations, but V in its worsincarnation is inherently evil

It's not merely the baddie, the

bully, the bitch. It is the

villain, the vixen, the viper.

B may be beautiful, but V isvirtuous. It is the Virgin

who does not give rise to the

world once and for all in the


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Big Bang of B, but who gives

it and livesit ongoing. Since

V is voiced, the livingis notyet frozeninto life. It is not

in the realm of form like its

unvoiced counterpart F. It isthe living verb.

DH


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seeks outward toward

something, voiced TH

originates over thereat thatplace and points toward me:

the, that, then, those, these,

they. Like the voicedfricative V at the end of a

word, it forms a verb, one

which infuses (seethe, bathe)

or penetrates (scathe).


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I

I - Self.

Z

Z is an ongoing Existence,


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which is very close to Non-

Existence; the ongoing line

which is. It appears as. Itwas. And it begins (cause,

zero, zilch), or ends in

nothingness (zap, close,snooze, freeze). Like all the

dentals Z is linear. It is

energetic and runs along a

fast, smooth track. Like S, it

intensifies whatever itencounters. It is also the leas

conventional, the least

predictable of consonants.


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It's got its own agenda, and

you can seize it and use it or

else you can lose it.

F


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F is the Fatherwho funds or

founds a process and then

leaves to fly or fall freely onthe winds. F doesn't hang

around to mother and

monitor its offspringthroughout its life like the

labial M does. It just sends

them forthon their own. B

comes before and during the

explosion. F comesafterwards. It is the fountain.

B may supply a base on

which something stands


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statically. But F being

unvoiced makes explicit the

formfrom which somethingwill evolve. Unlike the other

unvoiced labial P, which is a

stop and therefore has abreak implicit in it, F does

not make a completely

separate replacement or

copy, of the form. It merely

puts on a a face, a faade, afront, which can be either

falseor frank. Like all the

unvoiced sounds, F has a


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texture, and like the other

fricatives, F is broken up into

uncountably many parts.Since it is a labial its foam

and fluff tend to lie on the

surface, the fringes. Sothough F is spatially only in

front, temporally, it can be

either firstor final. Like the

other unvoiced sounds, F has

a fightin it; it is effortful.So its labial bias is not

toward the back like B, but

toward the front, the foray.


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But it also has a sense of

humor. Being a labial, its

humor is a bit exhibitionist.Its not happy deep inside like

H. It is funny, flirtatious, fas

and fancy.

TH


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Unvoiced TH is like a needle

througha ball of yarn. It is

dense and linear. The yarn ispacked up against it. It goes

with you through thickand

thin, providing the fullnessof wealth, health, truth and

faith. But the ride, though

smooth, is not always so

easy. more often than not, it

is accompanied by R, whomit needs to propel it through

the thicket. And that can be a

thrill. What is wealth in the


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end, is often theft and thrift

in the beginning. TH has a

themewhich can become athought or a thing. It doesn't

sit out in front as a goal like

it does in T, but threadsalong the entire path.

O


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O - Mouth.

S

S is the Serpent, what theIndians call the Kundaini,

the force of life. It is so


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strong, so smooth, so suave,

so slippery, so sexy. It is

linear and dangerous and fastand stoic. It is flexible. It

squeezes and slithers and

sprays and spits and stingsand stuns. It is the seed, the

Source, which does not

create as God creates, but

reproduces as the world

reproduces, from a singleworldly thing to several. It

intensifies. At the end of the

word it forms the plural. And


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even at the beginning of a

word, it turns 'mash' into

smash', 'pike' into 'spike',lash' into 'slash', 'tamp' into

stamp'. The dental linearity

in S shows up as an attractiveforce between two things. In

the beginning of a word, it

sealsand seduces. S is the

spiritualseeker, the swami,

the saint. At the end of aword, it forms the possessive


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SH

SH is like a Shellor shelter

or sheath. It can shieldyoufrom harm, shade you from

the sun, but it can also be

shallow. Like other unvoiced


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sounds, it is preoccupied with

forms, appearances, shoulds

and shouldn'ts. It reacts withshame, or shrugs it all off,

shirks its duties, tosses it in

the trash. And SH can shakeand finally shatter,

especially at the end of a

word (bash, lash, smash,

mush). Like the other major

palatal sound in English, ithas horizontal extent (sheet,

shallow, shout).


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H

H is Home. It is having,

adherence, holding,a sort of

loose collocation of things. H

haunts; it hang around,

hovers. H doesn't involve aliteral capture; it's not stuck

as in K, nor glued and

grounded as in G. H merely


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expresses a belongingness.

There is some freedom of

movement in H, but, like afamily, it both hinders, and

helpsyou. So this

belongingness can be heavenor hell. It can be highand

happyor hardand heavy.

Like the other velars, H does

imply a space, but home,

heaven and hell are not asconfined or clearly defined a

the containers of K, or the

grooves and grottos of G. H


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horniness which seeks to

hold something back, to have

and to hold it like a securityblanket. As with all the

velars there is a certain

amount of fear implicit in thehiddenness.


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J

J is the Edge(ledge, wedge,

hedge, ridge, bridge).Because it is dental and

linear, you can't simply walk

around. You have to go insingle file andjuggleor

ockeyfor position. There is


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very little leeway. You have

to hit Jjustright, and if you

find that mystical point, itgels. But if you miss, it's a

longjumpto the bottom.

You arejunkedand rejectedThejoyin J has a sudden,

extreme and unexpected

quality about it as well. The

oke lives in J. You are led

up to the edge and released.In the realm of the mind, this

edge shows up asjudgement

The linear directedness in J i


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contains a stop, J's frequency

is lower than for the pure

fricatives and its amplitudehigher.

CH


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directedness in T and the

ongoing nature of the

fricative gives it the power tocharmand enchant.

M


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Whereas G is that which

gives forth something from

nothing, M Makessomething

from something else. It is theclay from which things are

formed, the Magician, the

Masterof his trade, theMuse. If the experiment is

successful, the result is

magical, miraculous,musical. But sometimes it

missesand creates a


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monster. It is the Man that

God made from the

primordial mudand thenbreathed life into. The

texture of M is

overwhelmingly mushy. Mcan also unmake; it can

mangle, mash, massacre. Or

it can mixthings together to

create something new. Or the

tranformation of form in Mcan manifest merely as

movement. And if F is form

and P is position, then M is


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Measureor Amount. How

muchand how many? Mini

and maxi, micro and macro,miles, meters and moons.

This preoccupation with

quantity is typical of thenasals.The hierarchy in the

labial M is the modelfrom

which a thing is made. It is

also the mate, something

taken from the rib whichmatchesthe form in order to

serve as a cohort. Put another

way, M is the Mother, the


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moldand matrixof life. M

is the state of deep sleep.

N

Nearer, narrowingin, NowKnow, new, next. Like the

other dentals, N is a line with

a special point on it. This


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not, nix, no, never, nay.

NG

G is strongand sonorous.


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Whereas the two in H don't

quite touch, but hover just

around one another, the twoin NGlongfor one another

and clingtogether. NG has

the power to bringsomething into being, a thing

or a thought. It has the power

to flingsomething outwards

so it takes wing, so it sings

out. And like the other nasals(m, n) it is without beginning

or end. NG is ongoing. NG is

the counterpart to H.


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Whereas the Home in H

always begins a word and

therefore forms the backdropfor the word, NG always

occurs at the end and

expresses a result, a loud,sonorous, unending finale.


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L

L has volume, but no specific

shape. It is Liquid, LightandAir. Without support it leans

over and becomes limp. It

conforms to whatever form itis given. And given an

opening, it blowswith the


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glitters indirectly from G and

blazes or flashes brightly

from the labials. And L is thesound of love, lifeand

feeling. Like the other

dentals, L is linear. It is longand its motion is flowing

from one place to another, if

it is first released. But the

stopped consonants tend to

hold it in check when theycome after. K can lockit in

so it can't go anywhere, P can

make it looparound back


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where it came from. G can

waterlogit. T can make it

late. D can ladenin down. Lalso has a palatal quality to it

like SH and Y which gives it

horizontal extent. L is level.It can be held low to the

ground by a lowvowel, or it

can be made light and lifted

up high by a high one.


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R

R is the most masculine ofthe consonants. It is raw,

active energy, radiating

outward like a dental instraight lines. It is rearing,

raringto go, roaring, rowdy

and roguish. It is also linearand inflexible. It has no

patience for anything, least


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of all negotiations. It

reasons. It thinks in terms of

right and wrong. If it runsalong with you it can back

you up like a rock. But if

crossed, it brings aboutwrack and ruin. It is the

energy which most

frequently drives processes

implied in the other

consonants through to theirconclusion. In second

position, it makes the face in

F to go to the front, the


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barrier in B to break, the

garden in G to grow, the

tendency in T to travel, thedrain in D to drip. But after

the vowel, it often tends to be

out of control anddestructive. It wars, fears,

careens, terrifies, mortifies

horrifies, burns, dares,

veers, turns. It is fire. Its

color is red.


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W

And W is the Axis Mundi. It

manifests as Windand

Water. It always moves inWavesand Whorls. W is

Willful, ever waiting,

wishing, wanting, ever

wangling and whining.

early all its people are


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women. It lives in the past

and the future, the alternate

realities, what was, what willbe, what wouldhave been.

And whereas R never asks

any questions, W is full ofwhy and how and wherefor,

of quests and wandering.

When brought together with

R, W can sometimes work,

but she has to be on theopposite side of the room.

More frequently she is

eclipsed, and things go


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wrong. There is war:

writhing, wringing of hands.

Y

Y is the sound of innocence

and naivit. It longs for thehigh adventure. It is filled

with youthfulexhilaration.

Where N says "no", Y says


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"Yes". But more

fundamentally, Y as a palatal

consonant represents Extent,long periods of time, great

distances: years, yelling,

yearning. At the end of aword it stretches things out,

displaysthem, makes them

longer, wider, more visible,

more accessible: Y plays,

flies, sees, sighs. It is thetrees and the fields, the sea

and the skies.


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#Logic

1. - Knowledge

Knowledge is the

accumulation of facts thru

observing, learning, and

respecting. Knowledge is thefoundation of all in

existence, for it must be

"known" in order to make it


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manifest. 1 or Knowledge is

also Man. (1)(Knowledge)

2. - Wisdom

Wisdom is Knowledge acted

upon. Wisdom is Water, orthe vital building block of

life. 2 or Wisdom is also

Woman. (2)(Wisdom)


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3. - Understanding

Understanding is the additionof Knowledge & Wisdom

(1+2=3), complete

comprehension. 3 orUnderstanding is also Child.

The highest form of

Understanding is Love.

Understanding is built from

Knowledge first-and-foremost. (3)(Understanding)


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4. - Culture and/or Freedom

Culture is a way of lifepracticed. It can also be

Freedom in certain contexts,

because the greater yourKnowledge-Wisdom-&-

Understanding the closer

your Culture will be to True-

Freedom. Your

Understanding stems fromyour Knowledge (1+3=4). (4)

(Culture/Freedom)


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6. - Equality

Equality is the state, orquality of being Equal or

possessing an Equilibrium.

Meaning to deal or reachEquality with all in

existence. Equality is reached

through common Knowledge

Wisdom & Understanding

((1+2=3)+(1+2=3)=6). 6 canalso be The Devil, as it has

the power to be equal to man

but not to God. (6)(Equality)


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7. - God & Perfection

7 is God & Perfection, the

Supreme Being/Energywhich is the origin of all the

universe. G is also the

seventh letter in the alphabetGod sees with the seven

colours of the rainbow and

hears with the seven notes on

the musical scale. Love-

Culture (3+4=7). (7)(God &


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Perfection).

8. - Build or Destroy

To Build is to elevate the

mentality & material of ones

self, others & the planet. ToDestroy is to ruin the

mentality & material of ones

self, others & the planet by

allowing negativity to

outweigh the positive. Your


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Culture can Build or Destroy

(4+4=8). (8)(Build or

Destroy)

9. - Born

To be Born is to be broughtinto. It takes 9 months to

make a baby. 9 is the only

number that gives birth to

itself (9+9=18(1+8=9)

(9x9=81(8+1=9). (9)(Born)


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0. - Cypher (Cycle/Circle)

0 is Zero, it is also the

completion of a circleconsisting of 360 degrees

(120 degrees of Knowledge,

120 degrees of Wisdom, 120degrees of Understanding).

All in existence pertains to a

cypher. A circle with no

circumference.


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#Belief: religious sense,"belief" refers to a part of a

wider spiritual or moral

foundation - generally calledfaith.

#Knowledgeis often definedas justified truth, in that the

"Truth" must be considered

to correspond to reality and

must be derived from valid

evidence and arguments.


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#Aumoccurs When energyhas

moved beyond the

duality of intellect

and intuition. It is

beyond both.

Intuition is beyond


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intellect; "_ #i_" is

beyond both. Now

there is no logic in it,

no sudden lightning

in it -- everything is

eternally revealed. In

"#Y" one

becomes omniscient,


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omnipotent,

omnipresent.

Everything is

revealed

simultaneously.

intel - somnus

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