The Compositions of The Paranormal
As in popular music one could call this the chorus of the paranormal, or the hook that is as old as the recorded history of man. Perhaps older. First there are seemingly odd but largely insignificant events that are precursors to a more compounded and even stranger sense of events that are out of the ordinary. At the least, those I have studied. Then there is the hook, the chorus to the composition, the distinction that makes all the other entangled elements of an event fall into place as a context to a anomalous experience that is undeniable to those who suffer it.
As in the study of genetics which is analogous to a musical composition, once a distinction in the composition is made, it cannot be undone. In the same manner,there is a internal post-editorial review afterward in the minds of those who have experience such an event. A sort of pattern of differentiation made by a distinction, which could be considered a mutation.once again. What we may in the paranormal is a counterpunctual evolutionary strain in regard to self awareness that while mostly unintelligible from the point of view of rational logic, there might be a subcarrier strain that is more lyrical than our normal linear narratives as if genetics were composing what Leonard Bernstein advocated; "This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before." Counter narratives that are composed improvisationally and superimposed on the prosaic or the stereotypes we create. Perhaps these highly strange experiences are composed as a accelerated but embryonic form of PSI , more akin to Jazz than to Pilgrim's progress. I am not trying to infer a Pythagorean maths of music, but rather something less formal, something in the process of creation..then there may be antecedents..
Perhaps as a experiment one can add a soundtrack to your further reading if you chose. In this post it only seems appropriate, or at least to me, it warrants more dimensional aspects of the senses that I am at odds to offer you. Another term for this composition in play could be metamorphosis.
Multiplication and Mutations
Ring composition is a narrative technique said to be characteristic of preliterate peoples and oral modes of composition. In ring composition, a narrator touches on a number of topics until a significant topic is reached, then continues on in the narrative by retracing in reverse order the topics which were mentioned on the way to the significant point. Ring composition is an important element in epic poetry like Beowulf, Homeric epics,and in many other traditional texts that show signs of being composed orally. [ Mary Douglas, Thinking in circles: An essay on ring composition, Yale Univ. Press, 2007] http://en.wikipedia.org/wiki/Ringcomposition
Again we encounter language and language as the organised structure of associations in oral, written or internalized in the mentation processes of the mind, none of which seemingly never arrive directly at the point they are trying to make. Is this not correct? The same might be said for the paranormal. .as well as for the Arts as I noted in the last post where I ruminated on distinctions and the relationship between the normal and the paranormal as a process of mutation, that is also perhaps representative of a highly unique but non-sensate genome that is always being differentiated. Mary might think in terms of a spiral rather than a circle when it comes to ring composition. I image this as the inverse image of a stone being thrown onto the surface of a pond, only in this case the ripples cast out a stone. One that vanishes when you attempt to capture it.
Chiasmus is a term derived from the Greek. It is the 22nd letter in that alphabetic written genome denoted as X (chi) that translates into a form of logics or maths (paths of semiotics) which are associative, which in turn represents ring composition.
“And so, when thanks to a change of tempo of their blood circulation* there is obtained a temporary suspension of the action of the localization of that false consciousness which has already become the ‘autocratic ruler’ of their common presences, thereby giving the sacred data of their genuine consciousness the possibility of unhindered blending with the total functioning of the planetary body during the period of their waking state, then indeed my boy, if the crystallization of data for engendering in that localization an idea of something opposite to that which had already arisen in them and somehow become fixed, is assisted in a corresponding manner, and if moreover the actions evoked by this idea are directed upon a disharmonized part of the planetary body, an accelerated change in it is possible.
* Gurdjieff stated that the circulatory rate is in relationship with the rate of associations as being enfolded processes, directs the level and rate of suggestions , all of which that have their own unique processing rate and consequently when one ( suggestion) drives associations at a higher rate than the processing rates of somatic systems, this results in a hypnotic state aka entrancement. Think of the relationship of high emotional states with paranormal experience as neither the chicken or the egg but one enfolded in the other to produce an effect. They both enfold into each other. Or, at least, that is how I currently view this material.
Differentiation and Multiplications
I have often considered it to be compelling when thinking about my own and other anomalous experiences as a process of multiplication rather than division, a process analogous to the Chiasmus of 3 X 2, much like the processing of a quantisation that also seems similar to genetic processing. If Vallee is correct that everything is information, including the sensory, the somatic and the non-sensate that comprise the realities in and by us, a process that is so subtle, so easily missed and so strange is occurring as you read this.
Perhaps it is a hidden art we seek rather than the comparatively simplistic direct answers we tag with nothing more than terms. Our terms may be steering us instead of ourselves utilizing terms as descriptors. We are played, ironically enough like the keys of a piano following a score that is indeterminable by it's root but yet it follows a pattern. The pattern in of itself is a modality, and not a source. A sort of sympathetic relationship between the known and the delimited is woven as a evolutionary strain, perhaps it is a music of these spheres that is our habitation and X may mark the spot.