A: (1) Something we see partially: the MMSK. And: (2) something we don’t see at alclass="underline" a living info life form: Valis/the plasmate.
Q: And what does this add up to?
A: A quantum evolutionary leap in cognition and way-of-being in the world both in terms of cognition (comprehension about reality) and perception—literally—of that reality. Plato and Buddha (e.g.) were possibly onto this as an experience (anamnesis and) but did not understand what it signified. [ . . . ]
Finally: this untangling after 7 years of work goes directly back to the grueling labors circa 10-80 when I really bore down. The Logos is pointed to—but new language will have to be developed. Maybe we can work it out in cooperation with “the Logos,” the info life form that I saw that is here.
I understand! The “Logos,” i.e., the plasmate hence Valis, is a life form that already lives in 4-D space, just as we live in 3-D space. Therefore it is a more evolved life form than us. It isn’t just living info; no: it also lives—hence moves—in full 4-D space: it’s there already, and adapted to that environment. It is a life form more sophisticated than us; from our imperfect 3-D view it is camouflaged from our perception. [ . . . ]
Is it possible that this augmented depth-perception, perception of four spatial axes, is due to bilateral hemispheric parity? Or even to right hemisphere dominance? After all, it is the right hemisphere that apprehends space. Perhaps my right brain hemisphere became conscious. This is the next step in human evolution: for the right hemisphere to come on.
And to think it never occurred to me all these years that when I looked at the contents of Tears and saw the text at several spatial levels—each successive one according to how old it was—I was seeing time as space, which means that I had converted time into space according to the quote from Parsifal, “You see, here time turns into space.” Thus (if one wanted to) one could set up a cypher system by which a message could be read off at a glance, as set to ground (in other words in terms of spatial depth along this fourth spatial axis; but whether it is cypher or just the normal way the plasmate operates I have no idea; it may not be cypher at all but just its MO). The message lodges in a context that is not the same age as it; in other words set and ground lie at different depths along the fourth spatial axis. Apparently the percipient does not need to know the age of the different texts in order to see them lying at different depths; they will lie at their appropriate depths according to their intrinsic age, not according to the percipient’s knowledge; this is the case because they actually are at these different depths, when time (age) is converted into space. If this is so, it is quite extraordinary, perhaps the most so of anything I’ve come across in this experience and exegesis of the experience. For example, a percipient who is able to see time as space (the fourth spatial axis) will see the word ASHER on the Linda Ronstadt albums as lying very deep, since it is an ancient Hebrew word. So a message can be put together involving it as a linking device. For example, when I looked at that page in Tears I saw the word FELIX at a different depth from the words surrounding it, and this was before I knew that it is a Latin word as well as a name. I did not estimate the depth by the age; I estimated the age by the depth, by the various different depths. In my opinion someone or something is using this mechanism as a message-carrier. What I have been calling “the ‘Acts’ lens-grid” is in fact the appearance in me of the ability to see time as space, hence age as depth. I stood in the antechamber of a world that is already long inhabited and well-utilized. This is momentous. Since the verbal integer (morpheme) sets its own depth independent of the particular knowledge of the percipient, the enciphering-deciphering (encoding and then extraction) is spontaneous. ASHER can be used (for example) to show where a message begins. It can be linked and relinked with morphemes of other ages greater than that of the inferior bulk-text. What it is linked to need not be the same age as it but only a different age from the inferior bulk-text. The fact that I was used as an unwitting medium to generate and hence transmit such material shows an instance of how this is done; the older, deeper material in Tears came to me in the form of a dream with the urgent sense that I had to enter it into the text of Tears exactly as I had seen it; only years later did I see it lying farther down—i.e., at a greater depth—and then I realized that it was older—hence lower—than the rest of the text of the novel. This material linked itself with the Latin word FELIX which I had thought of as being only a name.
I believe I counted four different depths in the total text of Tears. A single morpheme will do it. ASHER will be perfect since it is of enormous an tiquity/depth. And it’s on every Ronstadt album starting with “Heart Like a Wheel.” We are talking about literally millions of instances (print-outs), and many linkings.
This message traffic uses a system that springs normally almost automatically into existence, given the nature of the fourth axis perception (time as space). So the method is not ingenious. But the real question remains: Who is sending, and to whom, and what are they saying?
[89:29] VALIS picks up where Scanner left off. The traces of heavy metal in drugs that caused the occlusion that I noted in Scanner now appear (in VALIS) as the iron (metal) spear-tip that wounded Christ. And the occlusion that is the topic in Scanner is the topic of VALIS, but now it is an ontological cosmic occlusion: insane creator and irrational creation. The cure (remedy) is salvation through Christ who, it is stipulated, represents the principle of rationality; he breaks into the universe, heals it and us as antidote, and invisibly transubstantiates the universe into his own body. Yet, paradoxically, Christ himself has been wounded by the Black Iron Prison, the Empire, through its spear; as he is physician and savior to us we ourselves flock to destroy the Empire and heal our own savior (salvador salvandus).
[ . . . ]
Scanner is my true Paradise Lost (the story of the Fall) and VALIS Paradise Regained, the story of the restoration through Christ. Hence VALIS can only be truly understood if Scanner is taken into account. Bob Arctor on the last page of Scanner is Horselover Fat on the first page of VALIS—the two novels form a seamless whole.
(1) Scanner: Man’s fall into occlusion, ignorance, impairment and enslavement.➊
(2)VALIS: Man’s restoration through Christ who brings him the saving Gnosis that in effect he has lost (been deprived of).➋
➊ Here he, the man, splits into two halves: he is self-estranged. He is wounded.
➋ Here he, the man, fuses back together as one intact person; the wound has healed. He now recognizes himself as himself. The saving knowledge (gnosis) takes the form of man’s ability to identify a picture of himself as himself (“Mein eigenes Gesicht”) (or: “Mein eigenes Gestalt”1). Thus topologically the universe that in Scanner was pulled through infinity, reversing the gestalt and making it unfamiliar (i.e., Fremd), has been reversed once more and is its familiar self: nicht Fremd but rather Heimlich. The Gnostic categories of estrangement and alienation versus returning to one’s home, the familiar, apply here. One has come to oneself after the Fall in Scanner.