DREAMACHINE

WHAT IS A DREAMACHINE? HIS NAME WAS MASTER by Genesis P-Orridge BRION GYSIN'S DREAMACHINE WITHOUT TEARS by Andrew McKenzie THEE ONLY LANGUAGE IS LIGHT by Genesis P-Orridge BACK IN NO TIME by Andrew McKenzie QUESTIONNAIRE NOTES ON THE RECORDINGS NOTES ON THE DREAMACHINE ITSELF THE DREAMACHINE AS INSTALLATION IN PUBLIC CREDITS

WHAT IS A DREAMACHINE? In the history of the world, Dreamachines are the first objects made to be viewed with closed eyes. In the history of art, Dreamachines bring to a conclusion the period of kinetic invention in modern painting and sculpture. Dreamachines open a new era and a new era of vision... interior vision. "Dreamachines make visible the fundamental order present in the physiology of the brain." YOU are the artist when you approach a Dreamachine and close your eyes. What the dreamachine incites you to see is yours... your own. The brilliant interior visions you so suddenly see whirling around inside your head are produced by your own

brain activity. These may not be your first glimpses of these dazzling lights and celestially colored images. Dreamachines provide them only just as long as you choose to look into them. What you are seeing is perhaps a broader vision than you may have had before of your own incalculable treasure, the "Jungian" store of symbols which we share with all normally constituted humanity. From this storehouse, artists and artisans have draw. the elements of art down the ages. In the rapid flux of images, you will immediately recognize, crosses, stars and halos... woven patterns like pre-Columbian textiles and Islamic rugs... repetitive patterns on ceramic tile... in embroideries of all times... rapidly fluctuating serial images of abstract art... what look like endless expanses of fresh paint laid on with a palette knife. Dreamachine visions usually begin by the meteorically rapid transit of infinite series of abstract elements. These may be followed in time by clear perception of faces, figures and the apparent entractment of highly colored serial pseudo-events. In other words, dreams in colour. The Dreamachine is a Dream-Machine. These dreams can be immediately interrupted and brought to an end simply by opening your eyes. However you look into a Dreamachine, in a short time you will have acquired greater self-knowledge, extended the limits of your vision, brightened your perception of a treasure you may not have known you own. BRION GYSIN

Brain waves, minute electrical oscillations associated with brain activity, can be measured accurately and graphically recorded by the electroencephalograph (EEG) machine. EEG records show that brain rhythms divide into groups according to frequency. One of these groups, the alpha or scanning rhythms, is strongest when the brain is unoccupied, searching for pattern; weakest during purposeful thinking, eyes open studying pattern. The strength and type of rhythms vary between individuals. The EEG records of

some primitive peoples are similar to those of a ten year old in our society. Variations occur with age. The alpha rhythms do not appear in children until they are about four years old. IAN SOMMERVILLE

Every person has the right to find the right distance for himself. Move closer to view colours. Every person has the right to find the right height for himself. Wait for a certain time until your own brain rhythms are brought into phase with those of the machine. BRION GYSIN

"Had a transcendental storm of color visions today in the bus going to Marseilles. We ran through along a long avenue of trees and I closed my eyes against the setting sun. An overwhelming flood of intensely bright patterns in supernatural colors exploded behind my eyelids: a multi-

dimensional kaleidoscope whirling out through space. I was out in a world of infinite number. The vision stopped abruptly as we left the trees." BRION GYSIN's JOURNAL. 21st December 1958

Elaborate geometric constructions of incredible intricacy build up from bright mosaics into living fireballs, like the man da las of Eastern Mysticism surprised in the act of growth. The elements of pattern which have been recorded by subjects exposed to the Dreamachine show a clear affinity with designs found in pre-historic rock paintings, rock-carvings and idols of a world-wide distribution; India, Czechoslovakia, Spain, Mexico, Norway and Ireland. They are also found in the Arts of many primitive peoples of Australia, Central America and the Amazon. IAN SOMMERVILLE

In the Dreamachine, nothing would seem to be unique rather the elements seem to be in endless repetition, leaping out through the numbers beyond number and back, show themselves thereby part of the whole. This, surely, approaches the vision of which mystics have spoken, suggesting as they did that it was a unique experience. BRION GYSIN

-oOo-

HIS NAME WAS MASTER In 1916 Brion Gysin arrived screaming and kicking, suffering forever, he said, from thee adverse effects ov constricted vaginal muscle. Projected through a world that was like Disneyland into a world that became Disneyland, via a port ov entry charged by light. Brion travelled in time and light, and made us all cry easier than loose in our own earthbound domesticity. E am coumvinced, always will be, that Brion is, was and will be, a Cultural Alchemist. He could be so negative, stubborn and cantakerous, that screaming suicide off high buildings became more enlightening than his clammed up viscocity ov no-speak. Frustrating all attempts to a direct answer to a direct question, he would benignly draw on his kit, and, eyes twinkling, play magickal Cat and Mouse for literally hours on end. E have never met a more knowledgeable, more capable teacher anywhere, either as myth or saint, or, as in Brion's case, as human. At thee end ov thee day he was thee only man E ever wrote love letters to. To master a long goodnight... And now, in present time. He's not here. And it hurts. It hurts coumpletely. In thee way that sneaks into us unnanounced, cutting nerves and emotions, crippling our coumplacent daily stance and opening up our pain synapses to snapping point. In 1975 E wrote to Brion. E was co-editor ov a reference book ov mammoth proportions called "Contemporary Artists", and E was determined that Brion should be rightfully represented in that tome as a radical Artist and Painter. Not dismissed

as an eccentric dilletanie as had appeared to have happened in thee deceptual art world. For ten yeras E had, like so many, been tracking down these renegades via deleted Beach Books, often found in Soho porn shops. Exploding with multiple recognitions ov contemporary arcane knowledge that appeared to coumfirm youthful instincts and intuitions, Brion was always thee hardest to find. He remained He had becoum light. that way forever.

There was no focus, only reverberating frequencies and pulses, crystals at his centre. He had becoum, quite literally and physically, a Dreamachine that had assumed human form for thee reassurance ov us mere observers. We stare with closed eyes. He flickers bright on our retinas and generates vivid signals. E see all about Brion as Magick and Light. E re-discovered perception through him. Out to Brion went a list ov questions about his life so far. Back came a cultured exclamation ov surprise with a note, "Even the C.I.A. don't know this much about me". Through correspondence we met in Paris. He would make tea in his tiny kitchen, Morroccan style. Naming thee different bubbles as thee water heated. As thee fish eyes appeared he poured thee water onto thee tea. Exploding its flavour. Thee Alchemists believe that water boils at 101, he explained. We soon developed a tradition, chocolate biscuits and tea in thee afternoons. A small pasta meal in thee evening, with spirits to accoumpany it. Coffee later on. E would sit. Thee sound ov drumming outside thee Pornpidou centre. Flashes ov Marrakpsh. Sunlight catching thee white flowers on his table, smell ov hash smoke. Swiss Urenmachine in thee corner. Calligraphic paintings on thee easel. Notebooks in rows. Morroccan trinkets reminding me ov his influence ovpr Brian Jones. And he would talk. It was like a children's fairytale. Thee child looking up spellbound and thee Grandfather enrapturing with his amazing tales and anecdotes. Never enough time. Yellow light cutting across thee later shadows and dreams. There is no way to describe how proud E was to meet and know this man. "the hallucinated have come to tell you that yr utilities are being shut off, dreams monitored, thought directed, sex is shutting down everywhere you are being sent. all words are taped, agents everywhere, marking down the live ones to exterminate. they are turning out the lights. no they are not evil nor the devil, but men with a spot of work to do. this, dear friends, they intend to do on you you. you have been offered a choice between liberty and freedom and NO! you cannot have both" Brion Gysin minutes to go

1968

Thee way to write is to simply tell thee truth. The right way is to simply, tell thee truth. "DEarset Gen There is not much point in telling you just how negative I am feeling these days... daze. I have not much recovered from my fall on the stairs. After all is said and done, I felt only one thing. . . ...finished. I don't feel any necessity to do all these things but I guess I'll do them if I am still stuck here and have to do them. I'll do them the best that I can and that may not be much. Don't worry. Nothing much more to be said than dumb numb no-news." Love Brion 17 March 1982

And within everything else there is coumthing else. It's a spark. E live forver surrounded by Brion. He paintings on thee walls, his face in snapshots on thee mantelpiece. Thee glow ov Paris light. Caresse calls him "Grandad, my Grandad", and she is right. Thee wise old man ov thee lowlands. When E took Alaura to meet Brion for thee first time E was nervous. He's a bit ov a misogynist E warned. Well,

he tries to be, butter E have always found him charming to women nonetheless. Alaura knew nothing about Brion except my love for him. Her love was instant and pure. He coumgratulated us on our impulsive marriage in Tijuana in 1981. Chance had it that two boys from Joujouka were staying with him In Paris that week. Brion made us relaxed. Alaura used thee Dreamachine. Unprompted by any prior information about what it was, "Heathen Earth" played as she and thee Arab boys stared, ryes closed. E filmed on video. Soon Alaura was swirling through psychedelic patterns and vivid colours. Thee desert scapes, eyes ov Horus, so many archetypal symbols and places. Proof positive that thee Dreamachine actually works, is not triggered by preconceptions. And afterwards, thee most beautiful, priceless and special meal ov my whole life. Cooked and served by tht'e musicians ov Joujouka. As we ate and talked, Brion was full ov energies, thee boys played thee sacred musick ov Pan on pipes in candlelight. E was once more in a fairytale, thee old magician conjouring sensations and rewards. E have never lost my joy and thanks for such a special gift from Brion. Nothing could have been more literally priceless than that dark, orange, flamelit evening. At thee end ov thee evening, he gave us a painting. Our pagan wedding present, which he inscribed for us. All thee fears and illnesses, all thee betrayals and losses ov his life, his bittrrnesses and fliratations with socialites were nothing. He was thee wisest, kindest man in thee world, and we loved him totally for it. Brion's work and friendship is a reminder ov work to be done, and a challenge to thee stagnant coumplacency ov thee dreamless minds that would like to drown us. Magick begins ini dreams, dreaming what we would like to happen, programming our subconscious. If you take these dreams seriously enough they DO happen. Dreams are descriptions ov. how things really are. A product ov thee Third Mind, ov perceptual editing and focused will. Dreams are accurate transmissions. There should be no separation between work, life, dreams. We must all aim for coumplete integration ov every possible and impossible facet ov our minds, emotions, responses and relationships, and then express that integration through popular culture and expressive arts, through frpndships and events, through light and time. Brion was a philosophical and alchemical transmitteri receiver. His ideas are frequencies that travel and confront as intimately as Television, butter with thee content ov full knowledge and potency ov shamanic, ritual Magick. No womnder he fell in love with thee Pipes ov Pan and thee sunlight ov thee desert. There should be no separation. Separation would be dishonest, would go against a dream ov evolution through knowledge and psychic development, would go against all our potential. A book, a film, music, paintings, love, are all thee person who makes and feels

them. This is a magickal process and makes things happen. It reveals even more. Thee first time E looked at Brion's drawings they appeared abstract calligraphics. Then he told me they were portrayals ov Arab market places. E could suddenly see they were indeed photographically accurate pictures ov everyday scenes. They simply included thee nature ov reality and time that engages our receptors in a manner we are unused to. Now E always introduce his paintings as figurative works to make this point. Man dreams before he talks, and since our first dreams we have felt that therein are messages. Prophesies, descriptions and events that cannot be ignored. Arcane societies and civilisations in their wisdom, and to their credit, employed people to interpret and record these dreams. Priests would stand on towers and pass their hands before their eyes rapidly creating a flicker effect against thee sun, eventually "tripping out" and speaking ov visions which were coumsidered holy and powerful. Today, a society and culture with a vested interest in thee suppression ov imagination, self-assurance, creativity, questioning and aspiration, discards dreams and esoteric techiques as trivia. Dreams are merely disturbed nights, or entertainment. Brion saw dreams as a parallel and interconnected universe. A commentary on Man's potential and hopes. He was in many ways a traditional Artist, yet by thee nature ov his personality he was simultaneously and without self-contradiction thee most radical thinker ov our age in thee area ov Magickal creativity and cross-discipline possibilities. No surprise then, that his greatest political and behavioural achievement was dubbed The 'Dreamachine. A simple machine to decondition and reactivate our perceptions. Societies controllers try to ensure that dreams are represented as vestigial trappings ov intuition, and are best kept in their place. For Brion and those who revere his work, that way lies death. When you cease to dream, you cease to exist. Shut your eyes. Thee world doesn't die. Open them, and in a sense half ov it does. Dreams generate ideas, liberate behaviour, enhance sexuality, empower Magick, and most ov all create possibilities. Dangerous stuff. No wonder Brion was frozen out to thee sideshows ov painting and writing. Too real. Too close to functional and practical techniques. Now, through Brion, we have a Dreamachine. Perhaps a crucial tool for thee arousal ov vision, perception and inner space that has becoum our heritage. Make no mistake, its suppression in subtle ways was no accident. A machine that for thee price ov a lightbulb leads you drugless into thee core ov your being, taps you into thee mass subconscious, stimulates thee mind, and bridges thee abyss between sleep and wakefulness, conscious and unconscious life. Brion recognised that we are at war. Thee fight is between suppression and perception, sexuality and guilt; and between all those things that bolster and assist control, manipulation and darkness, and all those things that encourage freedom, evolution, hope and light.

In thee eleven yeras we were friends, thee question E most asked Brion was, "Tell me about Magick". Thee question he most studiously avoided was thee same. Yet he once graciously gave me a clue. "Do you know your real name?", he said. E did. And then he told me his. It was as E expected. There was never a superiority or generation gap with Brion. He was always living in now and thee future. In present time. Thinking ov new projects, working with young people, making music, records, painting. Holding 'soirees' for young fans and seekers, always outgoing and moving, always absorbing and thinking. Thee last time we saw him was in Paris in 1986, ten days before he died. Alaura and E sat and held his hand. Being physically alive had becoum a struggle, "I just never guessed that it would hurt so much", he said. And really there was nothing more to say. It was over. Brion was sure he was here to go. We are left here to do. And what we do is described by, defined by, and coumtained within our dreams. During that last afternoon thee undertaker came to discuss death arrangements with Brion. Alaura and E went walking around Rue St.Martin. We couldn't articulate thee craziness ov life and death. There was nothing to say. Two boys from behind thee iron curtain stopped us, and told us ov their work with electrical sculpture and words. They were influenced by thee work ov Brion, who they'd heard lived in Paris. We drank coffee and took their address. Exiles in America. "He doesn't live in Paris anymore". E said. We felt euphorically disconnected, yet cold. Suppressing outemotions and terrors because they meant nothing. Had no value against losing Brion. So many people who love him so much. All knowing they will lose him soon. Frail Images ov his room. Now n hospice. 1 her air itself thee colour ov thee plastic tubes nnd bags ov liquid. Casting a cold bluish tinge through everything. As thee light was going from him, his space was becouming transparent. Ten days later Alaura came rushing into thee room crying, sobbing uncontrollably. "Brion's dead", she said. genesis November london p-orridge 1986

BRION GYSIN'S DREAMACHINE WITHOUT TEARS That a situation can be tolerated that allows the potential for individual selfknowledge, and that facilitates access to finer and rarer rates of vibration and planes of existence by means of an almost ludicrously simple construction, to be blatantly ignored, is as reprehensible as it is symptomatic of the present nearsighted and positively myopic attitude to the disse'minaition of information. Since Brion Gysin's invention, or more correctly, his formulative re-discovery of the principles of direct interaction with the Alpha waves in the human brain, namely the Dreamachine in 1959, the opportunity has been mis handled, mis-interpreted, suppressed, ignored, ridiculed, and a whole host of other negative attitudes born out of fear or ignorance grafted onto the idea. It is the present intention to redresss these anomalies by means of a clear exposition and the making available of this idea, fed into a process entirely at one with its original conception, so that it is self regenerating and progressive, reflecting the basis of its conception's acceptance of change, taking it still further and further by means of ACCESS, willingness to collaborate, and to re-examine all aspects of the capabilities which it suggests, provokes and provides. In itself, it is a 'means of provoking accident', and was the result of a well documented chance happening. But as suggested in Gysin's writings and elsewhere, 'random' is seldom what it seem";. The manifestation of vision by rapid flickers of light on closed eyelids that correspond to the inherent rhythmns of the brain can be traced back to Nostrodamus, Shamanism in various cultures and other 'esoteric' references, and probably much earlier attempts to reach out up to other levels of vision that are more complete than the mere cognition of information that is "everyday sight". For the Dreamachine incorporates ALL the centres of being; the mind is directly engaged, the body is brought into sharp focus by the simple expedient of the eyes being closed - sensations becomeing more potent in the absence of other sensory distractions - and the emotions react that much more clearly on being exposed to the extraordinary range of visions, which range from simple patterns to complex symbols and 'inner films' which touch the inner core of existence. Seen in this context, it is a method of balancing and effecting a communication with the three bases of life itself, each then becoming more strongly connected. This allows a much more pure form of energy to pass through them, feeding and being

fed by themselves. The Dreamachine has grown from tradition, and therefore can never be accused of having any element of plagiarism, a rare enough state in itself. The present form evolved from a construction with simple slots, and has its roots in Islamic geometry, one of the most highly developed aids to interactive self-contemplation and awareness existing. By re-creating (i.e., by returning to the source of its arising) the shapes on paper from the intial nucleus to the point of their completion, one is led through a process that immerses the participant into the realm of symbols. These symbols are the 'stuff from which all things are formed. By examining and tracing where things come from, we can be aware of where they can go. This opens up immeasurable oceans of possibility. And this cannot be twisted around, no matter how forceful the attempts, into that which is destructive, due to its purity. The basic premise is that exposure to light has a deeper significance, as a mirror of a much greater light, mentioned at some time or other by all religions. At this point, it is possible to go further, for as the Dreamachine demonstrates, by 'interrupting' or even 'cutting up' light (white light contains all the colours), that vibration is the base from which all springs. Light is merely vibration at a much higher frequency than sound. As has been abundantly documented in recent years. Physics lias had to contuinually revise the basic tenets of its creed due to the discovery (or eventual realisation, given that most religions had intuitively grasped this fact centuries before) that nothing is solid; that all 'martter' is in a constant state of oscillation. The levels conmtained within this statement carry on and on with their ramifications into infinity - witness even the simple quabalistic expostion of the word 'Dreamachine' itself (included elsewhere in this package), which through the revolving of its numbers and letters brings out, as if proof were needed, the strength and cohesion of the correspodences within. Crucial to an understanding of its importance, totally at odds with the cxurrent developmental climate present in the world, is its truly interactive mode of operation. It is, as Gysin himself often referred to it, a painting, not only the first in the world made to be viewed by the closing of the eyes, but certainly the first painting that the viewer must complete themselves; they arc just as involved in the creation of the experience, perhaps even more so than the artist himself. If this seems to present a paradox, it is worth remembering that paradox is an essential tool for reminding the brain, and indeed the rest of the 'self, of its limitations, and therefore its possibilities. It is also strangely reminiscent of the oreiginal purpose of Art as a kind of sympathetic magic. That is, not static

representational depictions, but something intended to be useful, entered into, to affect other vibrations on corresponding levels. To open doors, effect change - in short, to have function. So, in fact, it is important on the level of re-presenting opid truths, as well as making evident new ones. It is also the most extreme and effective personal creation, for no two people report the same experience, nor the same experience more than once. What arises from the Dreamachine allows objective examination of the very root of he or she that looks into it for it means that they must look into themselves. And this explains, in part, the fear which some quarters have expressed concerning it - it is a liberator which changes the way we look at the world after lookinq into the Dreamachine - we have looked into and at ourselves from the outside and inside simultaneously. Which brings us, in turn, to another paradox. And that is, that all illusion is stripped away, not produced. Responses from viewings of the Dreamachine are strongly connected, and bear striking similarities to reports of mystical experience - and encapsulate the problems of expression. A symbolic language is always used, for of course, reality is whatit is, and for it to be passed from one person to another requires the utilisation of one form of language passed to another. In other words, symbols. This is still further confirmation of its direct dealing with reality: the journey from the world of appearances through symbols to that which is actual. It is not a sophisticated Disneyland where plastic is more precious than flesh, where forced smiles covering the terror of the situation (and also its beauty) are making the task of discovering what we are here for, but what we must do whether we like it or not, and removing the artificially induced separation between "us" and "them" almost impossible. Although as stated earlier, the extreme nature of the intensely personal aspect of this construction is nearly incomprehensible by virture of its facilitation of contact with the 'cause prima' forces in the most positive way, the realisation of that which is common to all life, it maskes us search inwards in order that we might go outwards. This is mirrored in the physical construction of the cylinder, which makes the play of luight alternate between its own inner and outer. It is anti mass-communication, ennabling its opposite. For it means that we can actually speak to each other by whichever means are appropriate, in a direct manner, which involves the aforementioned three centres totally. It is anti-control, but it also m.eans that it is at last possible to create within oneself a kind of control that sometimes reposes within the word 'discipline'. It empowers an almost sacred impulse: the desire to direct oneself to a higher goal - to use the self as a vehicle for transportation to a realm where what occurs is free of the normally

corrupted and corrupting currency or rate of exchange with others. The dirt of jealousy, deceit, artifice, insincerity, blindness, ignorance, selfishness and vanity (and countless other appellations) fall away. It relates immediately, once more, to the purificatory practices stemming from where it grew. These traditions have also left their mark on the Dreamachine in their emphasis on learning. And the learning to be found in these so often referred to as 'backward' or 'underdeveloped' societies, where it existed and continues to exist in regrettably smaller and smaller quantities and qualities, depends on that gained from actual and direct experience of truth - not that reported or received second hand. In these educative processes, symbols are used as 'triggers' that flood back onto a person, sparking off personal and unique interpretation that is a real possession and understanding of a 'thing'. Effort is the only money which it is rightfully ours to play with, and nothing else is legal tender. Essential to an evaluation of the Dreamachine is acceptance of the fact that it allows learninq without retracing steps. this process wastes time by retreading old around. Which brings us to a complerte redefinition of Time itself, as a non-linear, nonsequential process that cannot be dealt with in any other way than blind assumption of 'fate' as a fixed and given state. Mirrored, again in the physical construction of the Dreamachine is the 'circular' concept of Time, containing and yet releasing in a constanst state of flux. And with the addition of the viewers experiences encountered by the self, it is possible to see Time as being simultaneous, centred, and as a property of being in much the same way as the concepts of 'weight', 'taste', or 'emotion'. Perhaps it is expedient at this point to elaborate on the use of the word dream, so unfortunately tarnished with the implications of fantasy and unreality. It is useful here to contrast the idea with that of film. In the body of Gysin's work other than the DReamachine. there are his collaborations with Antony Batch, lan Sommerville and William S. Burroughs in this area. There if. also in his work the examination of the magical properties of number. Again, a link can be detected with the Sufic form of quabalism which Gysin undoubtedly came into contact with during his 23 years in Morrocco. In that system, as with other forms of the examination of the world via recognition of the word as a symbol or 'curtain' hanging before a particular vibration, is the notion that what is normally considered to be incalculable, is, by recorse to these techniques, calculable. The suggestion made the, if this is entertained as an acceptable postulate, is that we can come to the end of a sum, a programme. And naturally enough, if there is a

programme, there must be a programmer. Film is a kind of programme, as is the tape recorded sound medium, representing the standard, linear concept of time. By breaking up this linearity by the famous and now almost acceptable method of the cut-ups it is revealed that it is possible to subvert time - and therefore the programme and programmer - that tries at every turn to impose these selfsame limitations implied by linearity. This is the judicious interjection of the editing table. A comparision between a film and the experience of the audience which views it (given the fact that the combination of sound and visual image has infinitely more immediate possibilities for immersion into illusion than other forms by reason of its close proximity to reality than when its movements are isolated from one another), and the sort of involvement the 'entertainment' film presentation invites is opened for scrutiny; the audience sitting in darkness necessitates a certain 'switching off of consciousness, a losing of oneself in the fantasy experience. Dreams, (he embodiment of repressed desires, tensions and fears that our conscious mind rejects, become possible to actualise when the "censor" that guards our subconscious relaxes in sleep or ecstacy; though even then, the desires can emerge in disguise as fantasies that are 'innocent', or apparently meaningless. Gysin (and his various collaborators) initiated in concrete terms the first stages of this process reversing this state of affairs, given that this is a somewhat modern malaise, if ancient references to dreams and their importance are consulted. This was begun with manipulations of sound and image in the films they made jointly. By fragmenting and disjointing the very workings of the linear time mode, the viewers themselves are fragmented in order that they might regain themselves in the act of pulling the pieces together again - by facing their real nature through a real perception at first hand of the nature of Time itself. The willingness to lose oneself in deceptual narrative and shadowplay is used against us, as immediate demonstration of the negativity and abasement of human potential which it represents and involves. The perfection of the Dreamachine therefore, was the destruction of the 'spectator', plunging those experiencing its effects into direct realms of experience where the manifestations are not just those of themselves or an outside party, but a connection and collaboration, starting outside and then coming inside to produce a manifestation of a further state which Gysin called "The Third Mind". It is the state where the process of the creative act surpasses its limitations by being pure, allowing forces to flow through uncontaminated by personality and ego. These are aspects of human beings which are not present at birth, but are gradually grafted onto them as long as they continue to live in an unconscious manner. It is the situation where the whole is greater than the sum of the individual parts, and is the truer, deeper and ultimate meaning of the creative act. The Dreamachine becomes, then, the opposite of 'entertainment', engendering wordless communication between the normally divided parts of the self. bringing

them together in a totally direct and immediate dialogue - which makes it the cider of a meta language. Given that the idea of language is to attempt lo pass experience from one place or person to another, inbuilt is the very real possibility of failure, if that emission of information - be it spoken, written or otherwise representative is in any way held onto. It must be totally given out and away. In other words, self-lessly. Within the body of any person's work on this planet, whatever plane or area this happens to be acting upon or in, there comes a point where the creator must give up the 'creation' in the final stages of the process in order that it is truly worthy of the name. It can be said with absolute certainty that the creation will demand this action imperatively, and It would be as senseless to try and resist this calling nearly as much as it would be futile. The creator, in order that they themself might aspire to justify the appellation, must become invisible, merged and indivisible with the created, and at the same time on the other" hand provide an example of the total immersion possible to set an example - to show that others may follow through whichever particular door is opened. Incumbent upon the most effective presentations of this 'setting of example', is the clear demonstration that it is not merely enough to follow through a door opened by someone else. Not only must a person be aware that they cannot and should not rely on the opening of doors for them by others, (although one must begin somewhere), but it must be capable of assimilation that all the doors are in practice already open. It is only we that are closed. The Dreamachine fulfils all these functions; implicit in the very name is the idea of a machine - a tool to be used - and not in the sense of the prevalent conception, allowing the artificially created servant to enslave us. It begs us to abandon it as soon as possible, by using it as other kinds of muscles are developed and strengthened by the use of weights, machines and exercises, to develop the mental, emotional and ultimately 'spiritual' muscles. And with repeated viewings with the Dreamachine, longer and deeper 'exercise' with it, the dissolution of self (but not the destruction) becomes a process of fragmentation in the manner of the cut-ups - in order that perception can continue to exist and a leap in that perception can take place, pulling together the fragments in a supreme effort of re-unificaition just as the act of strengthening a muscle slightly tears it- When it heals, it is stronger. Once more, the attitude to the word being a well- intentioned abstraction of the world, i.e., representation of a vibration, is suggested here. The fragmentation of experience into symbols (directly related to the Sufic geometry present in the holes

cut into the cylinder) or words, so that re-integration can take placed within the self, and then the process cyclically re-generating by the response created by the energy/vibration that emerges from the intiatton of the 'healing' or 'regenerative' act. 'Healing' in its essential meaning requires and compels "giving". In order that symbols can be correctly interprested - and therefore that interaction with the world can be sucessfully accomplished - spiritual energy must be breated into those symbols. We must give in order to receive. In-spiration. As Gysin found out following more technical investigation of the phenomenae associated and created by the Dreamachine, when the Alpha waves in the brain (between 8 and 13 cycles per second) are prevalent or emphasised, as in relaxed states, etc., the creative act Is intimately bound up with thew amount of connections between seemingly disparate events. As Gysin pointed out, for tyhousands of years the cultures where the consuption of Marijuana is accepted have preoduced cyclical, intricate patterns with bright colours which are themselves all fully connected, often in cloth and other woven forms. And furthermore, these cultures are fully aware of the significance of these patterns as a powerfully reflective focvus for meditation, contemplntion and perception of even deeper meanings behind seemingly everyday occurrences, objects and events. These same phenomenae are apprehended directly within the Dreamachine, and unlike the states induced not just by Marijuana and hallucogenics, it offers complete freedom of movempnt throughout these realms. One subjects oneself to the effects of a drug in search of these experiences, and must wait for the cessation of the effects of the substance - not so with the Dreamachine, where the positioning of the head, proximity and relationship to the source, etc., etc., controls and allows different intensities and types of vision to fall under the individual's direct control. Limitlessly. If the vision is found disagreeable (not one case of this has ever been recorded), or if there is something more pressing to do, then all that the viewer must do is open their eyes. With more and more practise, the effects spread out to eventually encompass the entire head, the immersion becoming more and more complete. But the option still remains at every point to disassociate onsplf from whatever is occurring. It gives the greatest freeedom, and what is perhaps the most important and yet the most difficult for any creation to achieve - the 'letting go' mentioned earlier - to be wholly incorporated into its being. It ties in with the organic levels, and finds correspondence in one of the quabalistic versions of its name, "The Womb". It is the complete absence of the attempt to define which facilitates this. By acceptance of the often underestimated power of human perception rather than a condescending 'tutorial' re-inforncement of negative or self-limiting aspects, the Dreamachine succeeds. By 'speaking roughly', indicating and pointing, directing in

an approximate way, meaning is truly grasped in the act of personal exploration. And so, at the present time, further exposition is underway, and possibly the most important area of progress is the bringing to hear of sound on the possibilities offered by the Dreamachine. It is one of the most puzzling aspects of this evolutionary spiral that Gysin himself did not publicly investigate this application or addition, save for his use of the sacred music of Joujouka in simple combination with his viewings. This is not to suggest that he was unaware of it. But until very recently, all extant examples of the construction were encased in a clear plastic screen, ostensibly to protect the viewers nose from potential lasceration by the rapidly revolving cut-outs In the cylinder, this phenomenon was denied manifestation. Whilst grouped around a Dreamachine, a discovery was made that brings another totally fitting, but also unexpected dimension into the proceeedings. A conversation was underway between the individuals concerned, and a strange effect on the siblances in speech was noted. At first a puzzle then a creeping awareness of the implications dawned. Sound, as has been said before, is vibration at a slower speed than that of light. By refining these frequencies involved so that the signals correspond and fall into phase with the Alpha waves too. it was found that the range of expression and possibilities for 'travel' were extended a thousandfold. The initial sibilances are at the extreme end of the possible frequencies capable of production by the human voice. The higer a frequency, the greater the precision of spatial and directional information contained within it. But one of the most interesting and directly functional aspects revealed over a period of study and experimentation, was that the rapid alternation of the sound (as with light) was only directly perceptible by the person emitting the sound. Even those persons sitting close to each other were entirely unaware of what was occurring, The sound is rapidly alternated between each ear, and the additional complementary effect to that which normally occurs in the Dreamachine with only the light source, is caused by the phenomenon called "phasing". This is linked with the operation of the Alpha waves coming into synchronicity with the audio and visual waves or frequencies, but just as with the physiological factors, i.e., the firing of neurons (electrical activity at the root of matter), the audio signals which are slower than those of light, are more closely connected with the purely physical aspects of the person, affecting both the inner and outer ear. It was found that the fluids within the cochlea are most strongly sensitive to the frequencies within the range described above - the exact same as the Alpha waves in the brain. It should also be noted that these fluids are closely connected with a sense of balance. Therefore, when this phasing occurs in the audio spectrum, that is, when two signals are constantly and almost simultaneously moving towards and away from each other in wave formation at the same time, the sense of balance is

somewhat confused, but extended. This development is not only in direct lineage to the creation of the Dreamachine and Gysin's work (many times within it are direct encouragements not to let the initiative of explorations within the suggestions within the suggestions made to stop there), but is, in a very real sense, the completion of a cycle. Light comes from within the cylinder and goes out. The last vestiges of any impersonality (ruled out by the arguments and evidence presented above) are removed by the personal input of the viewer on the physical plane. These sounds are made from without the cylinder and travel inwards, to be reflected, and cut-up (and phased). The very act of this infinitely variable procedure by the individual furthers this interactive range of the parameters. And not only this - it incorporates in an even stronger way the more spiritual aspects by the involvement of breath, which is by its nature two-fold - in and out. It mirrors the light's involving and evolving movememnts; it corresponds with the inner and outer surfaces of the machine (the insides generally being decorated with calligraphy stemming from Sufic influences), and the inner and outer manifestations of the Dreamachine. It is further related to the word, its conception as proceeeding from the 'Divine Breath', and the power of the word, to wit, its properties of affectation on the physical planes. Once this realisation was fully grasped, work began to maximise the possibilities. By the use of filtering systems, alteratyion and further refinement of these audio phenomenae (quite effective in themselves) recorded through specially modified microphones placed so as to (create a variant of the well known binaural technique, but equally applicable to narmal playback through speakers, many hitherto unexperienced effects were brought out Into the open. These recordings were then processed and layered to amplify and capitaslise still further on the physical affectation properties, resulting in the stimulation of various glands, fluids and other parts of the endocrine system. The way in which these recodings have up till now been treated involves the use not only of the technical areas of connection with the physiological minutiae, but quabalistic: influences to permeate and inform further development. Using the experience gained in the approach to dealing with the word. that is, vibration as emitted by a human being as symbolic of events and ideas, the word is dealt with as containing in its vibration a part of that entity, capable of transforming and intiating further creation of events or ideas on all planes. The recordings are now, as here presented, fully integrated with all the aspects of interaction and utilisation of the Dreamachine experience. And still the process is not at an end.

By releasing the Dreamachine from the confines of Art Galleries and making it available to as many people as possible, it is hoped that experiments with magical effect of the calligraphy with the cuylinder, different sounds and other stimulation of the senses etc., will be investigated by the user/s - thus going, as the Dreamachine itself does, from the outside to the inside and back again endlessly. The Dreamachine is a self-less creatioon intended to be used as a vehicle. That it is possible for a person to create a vehicle of such utilisation by and for the transpotation of others, on a ourney that simultaneously arises and returns to the source of its genesis (which is ours also), but allowing the possibility to see that it is encumbent upon us all to recognise it as a metaphor, must be INTUITIVELY grasped. Then it must be risen above - we therefore recognise that we must create that which is our own, that can in turn be used by others. This is then a point of contact with ourselves and everyone. It reveals and then rends away the veil that keeps us where we are. Its 'provoked accident' cuts out mercilessly the pernicious weed that threatens to choke us. It provides us with a way of looking at what is wrongly named 'imagination' -- that is, the prison that is generally taken for freedom. That there is a higher and more truly creative form of 'imagination' - meaning the investing of) images with energy in order that they may serve us as tools - means that this is in direct opposition to the making by images of us in their own image. It tells us what is possible in the most direct way, but never without the corollary that we must make these into REALITIES (another negation of illusion), by our own efforts. And finally, it provides us with a way of seeing that the struggle to further and further isolate ourselves from everything and everyone is doomed to failure. It demands the greatest that we must accept that we must give, courage -

A.M.McKenzie December Amsterdam Revised from 1986

I988

-oOo-

THEE ONLY LANGUAGE IS LIGHT

In thee search for signs, individuals see directions. There was a time zone long ago when feet struggled across blood biting flint, wrapped in animal skin. Bleached bone spoke ov thee snake way ov day. If you imagine a small child with a long ribbon, flicking their wrist sharply at each extremity ov position fluidly in thee central space, you w.ill picture thee flow of life as it was then. Regular, like thee trails ov a serpent on sahara sand. Each bended knee, in thee moisture preserving layers of nomadic elbow cricked for support, sees what lias passed. Time is that which passes. Arising, like a knighted Templar, to scan thee four directions. Thee point ov intersection between sky and earth is' shimmering. Not clear. There is a spinning ov equality. Mind, body, emotions and spirit. These coum from thee simplicity ov looking. Hand raised to shield eyes, thee fingers ov thee Left hand create a flickering movement like a Venetian blind. It is. ov course, a frame a threshold to travel through in light, and to light. THEE ONLY LANGUAGE IS LIGHT

In thee search for signs, individuals see directions. There was a time zone long ago when feet struggled across blood-biting flint, wrapped in animal skin. Bleached bone spoke ov thee snake way ov day. If you imagine a small child with a long ribbon, flicking their wrist sharply at each extremity ov position fluidly in thee central space, you will picture thee flow ov life as it was then. Regular, like thee trails ov a serpent on Sahara sand. Each bended knee, wrapped in thee moisture-preserving layers ov nomadic survival, elbow cricked for support, sees what has passed. Time is that which passes. Arising, like a knighted Templar, to scan thee four directions. Thee point ov Intersection between sky and earth is shimmering. Not

clear. There is a spinning ov equality. Mind, body, emotions and spirit. These coum from thee simplicity ov looking. Hand raised to shield eyes, thee fingers ov thee Left hand create a flickering movement like a Venetian blind. It is, ov course, a frame - a threshold to travel through in light, and to light. We have travelled through Time many thousands ov yeras. From ritual wandering towards words, into language: all ways ov closing down our basic nature, thee essence ov what we are. Light measured by Time. We have travelled through Time in a few lines, marks that have no flowing pattern, no snake-like calligraphy. We have been losing things as we converse. We have described one aspect ov evolutions. We have described many. Thee Sun is behind everything. Each second we observe tells us stories, parables, allegories. We see thee Sun. Our arms reach out to hold it. It seems so small; we have no sense ov perspective. Our boar like grunts sound raw. We shake our matted manes and feel anger. Between this point on thee snaking ribbon and thee next, we do hold fire in our arms. Fire reflects thee Sun for us, gives us hope ov power. Butter we have accepted loss than everything, and everything was permitted. As we sit around our cave fire, all life dances on thee pitted stone. Within our circle is thee energy, thee stolen Sun. Outside out circle, thee reverse: thee mirror painting pictures at thee edge ov our We have described an aspect ov blinderness. We have drawn thee failure ov sight. In thee desert, thee same process can occur. High on a tower thee Oracle faces thee Sun. Not trying to reach it, a hand stretches out. This person knows through many acies ov wisdom that thee Sun can never be held, butter it can bf harnessed. it ran even speak. Fingers spread, thee wrist is fluttered steadily. A particular frequency is reached. Eyes closed to thee light itself see more than words describe. Language, a quite different animal to words, pours forth. These are pictures, not speeches, stories and dreams, not discussions. These are truth. Vet only truth reflected outside thee circle. We have described thee process. Thee place - where all dreams meet.

Yet we are all ways moving away. Our energy flying up to thee ribbon ov Time and flashing off thee end with a crack. Cold in thee night, a simplicity unfolds. A firm hand grasps our ribbon. Takes it from us. Takes History itself from us. Stands outside Time. This being begins to spin. Faster and faster, round and round. Cloudy ectoplasms ov blue light collect around thee centre, apparently couming from within this in visible circle. Thee ribbon seems joined, a circle, spinning, curving in slow wave forms that feel they are light itself, this motion measures rime and Light; reintegrates, them to paint a picture ov thee beginning. Our mind can travel upwards, downwards, through all thee direclions. As above, so below. We are a travelling Spiral, a galaxy, all energy rushing outwards, clockwise: free, yet directed. This is no idle word play, no trap ov language. It is, quite literally, what a mystic might label a 'KEY'. In fact, it is a 'MAP' ov a factual process that serves as a bridge between loss and retrieval ov a state ov comprehension that in its purest sense is where 'ART' remains hidden. We are looking at LIGHT and TIME as thee twin facets ov BREATH. As obseivation became a profession, we became distanced from individual access to revelation. Thee Light was thee SUN thee Sun symbolised Life Spirit. Thee spinning ov Earth, thee couming and going ov our Light became a measure ov that which passes, that which moves, butter most importantly, that which ends. It gave us Death. And our gift ov individual vision often died with it. We placed thee Sun outside life, we saw life as finite, we fenced in Time and then stopped breathing and spoke murdering ourselves. We became obsessed with Death, so we put ourselves in thee centre ov our reeling implosion named Civilisation. Thee Sun now "kept us alive", and its light went from thee Sun to us, or even, "to me". Our breath that had now becoum words, now became power: and in our terror, we began NAMING. If you go outside your 'SELF' and look down at this picture, this spinning column, you will see what IT IS. Not what you are, not what life is, not an IS that be.irs any resemblance to any thought that can be conceived, butler IT itelf. This picture is just thee way IT is. And this picture exists precisely in that dimension we tritely call NOW. NOW = a state ov Present lime only (also known as Zero Time). This implies ZERO memory and ZERO forward projection. Placed at thee centre ov this picture we are seeing, and pointing, and travelling outwards in every direction simultaneously. Quaqueversal. We are also retrieving our original position in consciousness. A position ov ZERO separation and TOTAL integration. Beneath thee wrappings that preserve our spiritual moisture in thee

present Desert is thee coded message ov location. This is our ZT. From Sun, to Light, to File, to Sight, to interpretation ov transient images on cave walls, our back to thee source - cut off. From separation to inauguration ov heirarchy, thee Seer, thee Oracle, thee Shaman. From heirarchy to word, to Language, to Naming, to Power. As we scoop up thee grains ov Time and squint along both directions ov thee snakes ribbon trail, only thee expert can tell which direction is couming, not going. We have forced a dualism upon ourselves Yet that is not how IT is. Thee snake reposes coiled, spiralling outwards. In a distant cave, individuals are wrapped in animal skins, painting sorceries on their temporary cave shelter. Across thee mountains, a tiny is sewn in bloody warm skins to dance thee sacred dance ov Pan. Thee point where thee animal spirit and thought spirit separated. Thee moment At this moment, thee knowings which were contained in states ov not thinking were encoded. Thee myths, legends, allegories, religions, are now where they reside. Thee search ov High Art and High Magick has been for processes ov retrieval, in order to facilitate coumpletion ov reintegration. Thee re-establishment in thee individual ov a permanent state ov Zero Time, Zero Language. Zero Thought. Where consciousness exists within its own planes, as if metaphorical light. It is no accident that these encoded truths are preserved so often as pictures, or picture stories. For a picture is Light. It is no accident that these encoded truths are preserved so often in heiroglyphic, calligraphic and permutational scripts. Linear language is thee most corrupt messenger. TOPI FINDING or SIGNALLING EXERCISE YOUR : PICTURE

1 . Thee only story is what you are thinking 2. The only telling is what you DO as you are thinking it. 3. The only aim is not thinking. 4. The only result is communication. In this exercise, 'thinking' actually means any neurological activity that is in no way conscious; that wo are in no way aware ov.

-oOoIn October 1966 an almost square, olive green book was published. It was called "The Best Of Olympia" (No. 107). Sandwiched between "Pursewarden's Inconigibilia", and "Frankie 6 Johnny (New Style)" by an anonymous profaner - or, between "Pursewarden's Incorrigibila", and "The Trial Of The Templars" by Ann Pederman, if one wishes to bend thee truth for a more romantic perpective ov history - were two short articles. One was titled "DREAM MACHINE" by Brion Gysin, thee other, "FLICKER", by lan Sommerville. On pages 21, 22, 23, & 24 were illustrations ov thee earliest prototype ov coumthing quite extraordinary. A simple-toconstruct device that, at thee very least, triggered in thee brain ov thee participant an intense psychedelic visual experience. Yet this same device did so, utilising only thee wattage ov a domestic record player, and, still more unlikely, it released this storm ov visions whilst thee eyes were closed. Thee legend is now folklore among cognoscenti. Brion was dozing, eyes closed in a bus going to Marsailles, France on December 21st, 1958. Travelling through an avenue ov trees "...an overwhelming flood of intensely bright patterns in supernatural colours exploded..." At school in 1966 and 1967, E was experimentinq, like many others, on thee expansion ov all my horizons. Sound, Vision, Thought, all seemed equal, and a search was on for a kinetic form ov Art - a transmedia exploration ov possibilities. E soon realised thee possibilities alone are endless. Thee boundaries between Art as an expression , within a macro-world, and Art as a label for thee micro- world ov consciousness and life itself, were, to say thee least, blurred. In fact, as exploration followed exploration, it seemed more likely that Art was internal. That there could not be, nor should there be, any separation whatsoever between Art and Life. E have since learned that in North American Indian culture, thee word 'separation' is synonymous with 'Death'. Thee intuitive areas ov my "mind" triumphed, confirming that thee inherited word for what was trying to grasp was a rather vague notional one: "Magic". Almost simultaneously E added a 'K' to indicate thee inclusion ov focussed sexuality as a key process in all this. Thee "DREAM MACHINE" book came to me as nefariously as many others in those da;re. In my endless quest for forbidden, forgotten, or flexible information, E had discovered thee 'porn' shops ov Soho were my best bet. It was there that E aquired Genet, Miller, Burroughs, Triocchi, and Ableman. Most ov these books were published by Olympia Press in distinctive green covers. E came to trust to thee premise that thee odds were 95, plus that ANY ov these qreen publications would challenge, stimulate and excite me. A "Best Of...", therefore, snuggled between "Bare Buttocks" and "Hard Whips" was instantly snapped up,

E built a model DREAMACHINE at home. Sellotaped to my Dansette record player in thee loft ov our home. E looked. E understood a great deal about certain types ov apparently abstract or Psychedelic Art. They were in fact nothing ov thee sort! They were EXACT representations ov EXACTLY what was there, EXACTLY what thee artist was seeing. They were maps (if you like) ov what we unimaginatively dismiss with thee dull word 'reality'. It seemed quite clear that thee nature ov everyday pictorial media was way off thee mark. A flat, colourless illusion ov a world its describers felt no real engagement in. How could they, if they believed what they saw was actually how things look? These realisations did not coumfuse me in thee least they filled me with joy. There was and is no fixed movement, state ov matter, or level ov reality, there is only an infinite state ov change and flux within which we ourselves flow as pure instinct, and expressed through thee purest language ov all, intuition. So a Jackson Pollock painting is not abstract, it is an unspecified perspective ov a point ov Time and Space that may or may not have, or have had, an element ov matter to it. In fact, nothing pictorial can be in any way an accurate description ov any reality, objective or cognitive. Thee very fibres ov thought are IT. E conjectured as E stared at thee multi-dimensional kaleidoscope, that is, E could go smaller and smaller in subject matter stared at - E would go down to atoms, then neutrons, etc., etc. That each point ov matter is made up ov tinier and tinier pieces ov matter until they cannot exist at all, and all that must be left is thee space between. And this space is traversed (and perhaps bonded) only by enerr)y and or light. Therefore, whilst all things appear to exist, nothing exists at all. What E later discovered could be -termed 'consensus reality'. A consensus reality that was accepted unquestioningly by a majority ov humanity. A consensus reality that when it alluded to this banal acceptance too painfully, it was usually ascribed to religion in one form or another. Religion, in turn, seemed to grow further away from Truth, thee more a society claimed to develop civilisation, and an illusion ov mechanistic power over its enviroment and destiny. This led me to investigate so called Primitive cultures and their methods ov description and explanation ov "reality". E found more there, that made sense and worked, on all levels. These threads merge. In Tibet, E found and learned to play singing bowls and bells. When their functions are verbalised, they are coumtimes said to split thee head ov a demon, or banish spirits. Ov course they are triggering thee release ov endorphins in thee brain, by precise and minute manipulations ov frequency and pulse. These can generate LSD-like 'highs', or terminate headaches. At a certain point, we do not need to be instantly coumcerned with here and now. They probably do also open specific key metaphysical and actual pathways into quite different dimensions ov Time, Light and Space. In 1980 E met Brion Gysin in Paris after a long magickal courtship. E had not used a DREAMACHINE for 13 yeras, butter E had not forgotten its lessons. E sat and used

his high tech model. So different from thee original prototype. It was encased in perspex. Thee motor made by a Swiss watchmaker. Thee most perfect so far. It was akin to thee space programme. Thee first rockets - so crude, butter effective - to prove thee premise and power ov thee exploration. And yeras later, these museum pieces stored as obsolete. Here we were in Present Time, and we had thee sleek silver Space machines powered with thee latest engines and fuels in order to take us further, faster and deeper into infinity. It is no accident that these two sciences are running parallel. To coin over used phrase that still hold true: Inner Space exploration mirrors Outer Space. Brion is oft quoted as saying that we are here to go. Those Scientists and Artists working on thee Biosphere, whom we have also had thee privilege ov knowing and exploring with, project this metaphor ov Alchemical Inner Space into a mission to literally, physically, GO! There was no doubt in my mind, or body, that day in 1980, that more than anyone could articulate was implied, intrinsic and integrated in thee Dreamachine. As a metaphor alone, it, spoke wordless accuracies. Butter more amazingly it literally described, imaged and revealed not just thee essential internal nature ov Art, butter ov magick and consciousness too. E sat, lost within its atomic sensibility, outside normal time, not thinking. My bonding with it was almost biological recognition. My understanding ov it was pure and metaphysical. On another visit in 1981, Alaura asked to use Brion's DREAMACHINE. E had never discussed in advance with her what it was supposed to be or supposed to do, or what theories E personally coumfirmed via it. She came to it intellectually clean, not auto-suggested or primed in any way. It was a mysterious and novel item. Brion put on thee music ov Joujouka and turned on thee 'spinning column. Alaura sat motionless, eyes closed, following Brion's instructions. Looking, not thinking. She sat there for about an hour in silence. After she finally stopped looking and opened her eyes, she looked elated and exhilarated. During dinner that evening, we asked her what she had seen, if anything. First, she said, she saw quite amazing psychedelic patterns, swirling spirals, implosions, bright colours constantly changing. After a while, suddenly she slipped through through this maelstrom into a hyper-real landscape. A desert type ov lanscape, rather like thee surface ov Sirus in lucid dreams. Floating towards her and past her line ov vision were archetypal symbols. Eyes, crosses, pyramids, faces. It was just like having her eyes wide open, butter having travelled into another Universe or state ov being. It was quite real. Since that time, she has been able to travel there via TOPI rituals, lucid dreaming and other processes, butter this was thee first occasion she crossed thee threshold into awareness ov these levels ov actual reality. It must be made quite clear that these are not illusions or hallucinations, but that they are actual places, co-existent with this particular TIME Zone. They are thea residual pictures we find where our particular species originates from. Not long after this, Alaura and E scraped together coum money and coumissioned a

close friend and individual John Gosling to build us a Dreamachine large enough to be used by several TOPI individuals and allies simultaneously, and robust enough to be transported to appropriate rituals without damage. He cut each hole out ov sheet aluminium laboriously, then fixed thee Dreamachine to a circular base on wheels. Thee motor he used could run clockwise or anti clockwise. Five seats could be arranged around thee whole unit for viewers, their feet resting coumfortably on thee circular case. Light stimulus still came from a domestic lightbulb in thee centre. WR viewed this as a potent magickal laboratory, built for serious ongoing research and travelling. During thee first seven yera public cycle ov T.O.P.Y. (Thee Temple Ov Psychick Youth Nett-Work) we carried out many investigations ov our Dreamachine. Coumtimes individuals would use it alone. Coumtimes two, coumtimes permutations up to 5. We experimented with sexualities, Males and Females separate, in coumbinations. In thee later stages ov this period, children. Coum individuals had heard ov thee Dreamachine and its claimed effects, others had not. Thee split between coumplete ignorance in advance and coum prior knowledge was almost exactly 50/50. During this period too, we circulated thee plans throughout our network to thee extent that several hundred individuals are researching thee cumulative effects ov Dreamachines, and approximately 100 are incorporating them into serious Magickal rituals on a monthly basis. All ov this work is being collated and evaluated privately. During this period we have also noted coum quite unexpected phenomena. These are briefly described below. All those described were witnessed by non-aligned casual visitors who saw, felt, heard, experienced exactly thee same phenomena as we did ourselves. Normally, these neutral visitors were more suprised than we were at what occurred. To us, they were all confirmation ov what we already knew, butter physical and concrete enough to be exciting reinforcement all thee same.

-oOoCaresse was four yeras old. She had grown accoustomed to thee Dreamachine in thee living room, and our sitting around its flickering light, eyes closed. One evening she asked if she could use it with two friends- We explained that she had to be still, patient, and not to lean into it too far, or it would hit her nose! She agreed. This was thee first time it had occurred to us to allow a child to use it. It seemed a good check on our level ov self-delusion, if there was any. Caresse sat cross-legged on a chair, her face about 6 inches from thee Dreamachine surface. There was no other source ov illumination in thee room. Thee music playing was Joujouka. The rest ov us were seated coum feet away, watching and relaxing. After a few minutes, we whispered to each other how still and concentrated Caresse was. We had expected her to fidget and get bored. She was quite clearly entranced. Her face began to look more and

more beatific, little smiles ebbing and flowing on her face just as they might if she were watching a cartoon or fairy story movie. Whatever she was seeing was certainly pleasing and occupying. After about 20 minutes our attention had ebbed, until our friend Cheryl nudged Alaura and E urgently. Cheryl pointed to Caresse. Without a word being spoken to us we could see why she had redirected our attention to Caresse. What we saw was quite unlike anything we have seen before or since. Caresse's face was physically changing shape. Thee nearest parallel was thee film "Altered States". As she coumtinued to gaze, eyes closed into thee flickering Dreamachine light, her face became gradually more and more Neolithic. Bulges appeared, muscles tightened, until she looked like one ov our ancient ancestors must have looked. It was very strange, and NOT a trick ov thee light, for several ov us observed it, and moved closer to be sure. Presumably this phenomena can be explained as an innate butter rarely seen ability ov thee facial muscles to drastically alter thee physical shaping ov a face. Thee question remains: why would this occur in a non-pre-primed 4 year old? Also, even accepting there was a physiological possibility ov HOW it occurred, what does this phenomena imply generally, and about thee Dreamachine in particular? We saw thee equivalent ov an animated film, showing a backwards regression through human evolution ov skull and face shape from thee 1980's, all thee way back to approximately Neolithic early Humankind. We saw Caresse, quite literally, travel through Time. We saw corroborating evidence ov thee theory ov gradual evolution ov our species. We had never dreamed that thee Dreamachine could create physical phenomena so potently and clearly. Immediately after this transformation, as E got close to Caresse (about 2 feet away) she opened her eyes and started to cry. E asked her what was thee matter; she said it was "too beautiful". She said she was not frightened at all she had seen amazing colours, then animals, places, and faces. She said she liked thee Dreamachine, butter she didn't want to use it agen for a while. She seemed to sense coumthing powerful had occurred. One day Alaura and E were using thee Dreamachine. A friend sitting in thee room said later that they had seen a blue light around thee top ov thee Dreamachine. They assumed it was a hallucination, though they felt a little odd. We retired to our bedroom not long afterwards. Alaura saw a blue cloud, very spectral, coum through our closed bedroom door and settle over our bed. She pointed it out to me. E opened my eyes and saw it also. It felt as if it were intelligent energy, and not malevolent in any way. After a few minutes, it disappeared. On many occasions we have had a circle ov five adults around thee Dreamachine holding hands. Left over right. Transmit, receive. We have coumpared notes afterwards ov FIGURATIVE images seen. Linking hands definitely increases apparent telepathy within a group. This stays for a few hours. Regular circles ov this type generally have a cumulative telepathic and empathogenic effect ov varying degrees on all individuals ov such a circle. There appears to be no difference in sensitivity between Male, Female or

transexual. During one early session E intuitively began to whisper, exhaling quite forcibly, making a "SSSSSSSSS" sound. Because our large Dreamachine is robust, it has no outer perspex shield. The effect ov thee aluminium cut-outs spinning so fast is that it "Cuts-Up" thee sound ov thee breath, modulating it at different frequencies. My excitement was initially at thee novelty ov this extension ov possibility. E soon noticed, however, that E was more able to control thee visual images E was receiving by thee variation ov breath, modulation, frequency and depth. E could 'hold', 'freeze-frame', loosen and shatter images; though E could not, nor did E wish to, control their content. Overall brightness tended to increase also. E suggested to Alaura that she copy this effect by breath projection on thee Dreamachine. She found that it expanded thee possibilities as well. Utilisation ov breath has since becoum a standard procedure for all users ov our Dreamachine. It was random chance (n.b. - "How Random IS Random?") that practical expediency in choice ov materials led to this discovery ov thee sonic qualities ov Dreamachines. It is a coumpletely new development and extension. We wished that we could tell i Brion, who had died, ov this further reinforcement ov thee magickal potency ov his discovery. We knew he would be pleased and fascinated. Thee levels ov exploration since developed in coumjunction with Andrew M.McKenzie in this area, using precise recording and layering techniques which are documented elsewhere in this package. Only one individual has claimed no real result so far in our Dreamachine experiments. This is Jordi Vails ov 'Vagina Dentata Organ'. He saw only black and white, and almost zero animation ov any kind. We have no explanation for this at this stage. We have not yet tried him a second or consecutive times on thee Dreamachine. We do intend to when logistics ov life allow.

-oOoCoumclusions. Thee Dreamachine can quite literally INVOKE. It can call out that same blue light mentioned in high Egyptian magic and in Sufi texts. Thee same energy Dervish Dance calls out, and which is received and then earthed by thee pointing ov thee hands up and down from and to thee Earth IS this Light/Energy. Thee Dreamachine can facilitate 'lucid dreaming' outside thee normal coumsiderations ov space and time. Thee Dreamachine can generate physiological manifestations ov these altered states. Thee Dreamachine is a practical process ov accelerating Empathogenic bonding within groups working in psychic territories. Thee Dremachine has acoustic abilities that reinforce and expand all thee above and any individuals control over them.

-oOoIn thee beginning was light. Light spinning created energy, energy spinning created an implosion that created galaxies ov light spinning. Thee galaxies spinning in spirals create Space by their presence within infinity, and this is mirrored down to electron microscope images ov thee structure ov matter and genetics. Light and Space generate life, and Life measures Light and Space to create Time. This may not fit thee accepted coumcepts ov thee Creation, or ov Science. Butter what it is hinting at is a finding ov a picture ov thee keys ov thee mysteries. Thee Dreamachine is an invocation, just like that ov an oracular seer on a tower in thee desert, creating waking visions by thee cutting up ov sunliqht with their fast moving hand across their eyes, their prophecies guiding destinies. It is a model ov thee internal Universe, and thee means ov travel within and through it as far as we dare venture. It is a model ov creation, ov what once was light, that we belittled and corrupted as Gods. it is a way in to every simultaneous aspect ov reality and unreality, thee destroyer ov dualism. Magick is for all, just as evolutions have to be for all. Where language ends, thankfully, non-thinking begins, and, in a pure state ov receptive non-thinking, UNDERSTANDING unravels (Thee Snake Ov Time). Thee metaphorical significance ov this map is profound. This plan ov creation does not just apply to Art, or redefine thee exactness ov applying Arab script, or hciroglyphic script to find your picture for thee most essential and wordless coumcepts, if and when articulation through language is enforced upon us to encode "Holy" knowledge. Within this system are coumtained all archetypes, symbols, neurological equations and powers, every picture ever seen, every surface ever magnified; preGods and post-Gods; every Threshold and Abyss, every incarnation and ancestor. Whether it be actuality or allegory, accessible to every individual to their own degree ov absorption, no more no less, is an opportunity to observe thee History and meaning ov thee Universal Light. genesis Brighton Era Maximus (rising) p-orridge 1989

23 -oOo-

July

BACK IN NO TIME

- some aspects of Brion Gysin and suggestions for use

"Do not look at my outward shape, but take what is in my hand". Jalauddin Al Rumi

"My mind rebels at stagnation - give me problems, give me work, give me the most obtuse cryptogram or the most intricate analysis, and I am in my own proper atmosphere. I can dispense with artificial stimulants, but I abhor the dull routine of existence. That is why I have chosen my own particular world - I claim no credit in such cases, my name figures in no newspaper. The work itself, the pleasure of finding a field for my own peculiar powers, is my highest reward". Sherlock Holmes

One of the most fascinating aspects of the ancient art of Quabalism is the intrinsic functional possibility to take a word in any language, and on hearing it spoken, then to convert it to whichever matrix suits the form being practised, and then to be able to discern its meanings - without any previous knowledge of that language. It is detective work of the highest order: the travel through a symbol originated independently of the traveller, involving the integration and orientation of that person in uncharted territory by recourse to their own capabilities, and more importantly, intuition. Rather than the contemporary demand for all things everywhere to be instantly available for mass consumption on a plate at the drop of the proverbial hat, it

involves payment, and moreover, payment in kind: emphathatic reckoning - the only legitimate barter system available In the spiritual and truly creative life of a human being. How similar and interrelated then, is the attempt to penetrate the wall of contradictory information, rumours implications and ego-based supposition by others surrounding the manifestations grouped around the heading 'Brion Gysin'. It would certainly not be innacurate to assume that all of the above complications and mass of confusion was at one time or other directly or seemingly indirectly encouraged, or indeed, initiated by the man himself. And so, this present set of examinations will seek to preserve, at the very least, a certain vestige of that smokescreen.

"If you want to disappear, come round for private lessons..."

Within the body of a persons work on this planet, whichever plane or area this happens to be acting upon or in, there comes a point where the creator must give up the creation in the final stages of the process in order that it may be truly worthy of the name. The creator, in order that they themselves may aspire to the justification of the appellation, must become invisible, merged, and indivisible with the created.

"What does not grow out of tradition is merely plagiarism."

As so, it can be revealed and can be realised that the tradition from which much of Gysin's work springs and is continually informed and fed by is cloaked in this concept of invisibility - stemming directly from the rejection total and absolute of idolatry that is built into the foundations of Islamic law. This is the circle which is formed by the rotation of one point around another, the third that is created whenever two points are present. It is created by and encloses these two starting points of any and every manifestation in all worlds, and is named within the terminology of the religion, "Tarika". What is perhaps more important is the fact that during his 23 years in Morrocco, in daily contact with what may be termed 'The Devout' (but again, not necessarily seeming so), is the often unrecognised fact that these people are, for the most part, part of the 'inner core' of Islam - namely, Sufi's. Even at this first point of departure is the striking feature that they themselves have never, throughout their long history, referred to themselves by this name. The philosophy (incidentally looked down upon by the orthodox forms of Islam) has no

name unto itself. There are many forms in the actual practise of Sufism, which regards itself as chiefly concerned through the particular disciplines special to each region, as dealing with the journey from the outer circle (Tarika) back to the central point or axis. This is mirrored in the symbolism contained and presented within its textiles, patterns lining and decorating its Mosques, and so on. These are all of intensely practical intent and purpose, serving both to remind and influence the 'recipient' on viewing, whether initiated or not, towards ever more deep contemplation of higher realms, planes and modes of existence. Thus, the circular movement has very great significance, and is incorporated into the basis of the liturgical celebrations associated with Sufism. These are no dances of the profane, as they often interpreted by Westerners more used to and aquainted with the more static forms of spiritual contemplation, but a means of total liberation from just these forms, through the use of ecstacy. These are the creation of fields of energy described by the sacred geometries running through the above mentioned implementation of patterns, dance, breath control and the highly developed practical application of the effects that it is possible to create in physiological terms, of the vibration of sound, both musical, spoken, and architecturally engineered. The word 'Q'ran' itself means 'recitation', and this of course is immediate verification of the recognition that the word is a living entity which must have at all points energy invested into it by the aspirant 'communicator', in order that it may travel from one state to another and achieve the intended corresponding sympathetic vibrations in the other matrix to be eventually 'decoded'.

"He who runs may read"

The very act of the encapsulation of a vibration (the essence of all matter) into a printed or written form involves, in the Sufic train of thought, the genesis of the magical act. It is, once again, a portal which must be entered into, invested with 'spirit' (c.f. the chanting of the divine name ALLAH - involving and neccessitating the creation of a state of ecstacy by hyperventilation) - and so made flesh. And not only this, but it can be seen as a kind of door through which one may immediately walk through to visit realms of the self in their state of being connected with the 'universal

Self. This finds essential correspondence with Gysin's work on reading his recorded and transcribed explantation of his first contact with the conscious ritual of fixing words on paper, stemming from his enforced learning of the Japanese language whilst on military service. He relates how his grasp of the meeting place of words, ink and paper sparked off what was to be a lifelong experimentation and research into the written word and its transformation into experiential 'being'. His painting, therefore, bears the imprint of this essential message of that which he was dealing with. For this was the transmogrification of the real essence of things in their complete aspects, by the distillation of that essence into the symbolical world returning form into content in direct opposition to centuries of effort on behalf of the contrary motion. This involves on the part of those exposed and those wishing to interpret correctly, effort. But effort that is at odds with the standard meaning) given to the word in recent memory. It is the letting loose of the stagnation that we mistakenly believe as capable of providing food. It is the paradoxically opposite state of the 'letting through' of forces, rather than trying to create that which is already there. A kind of payment with being. Easy, but hard to allow. Unlike earlier sects and religions, modern mystical movements are predominantly anti-guilt and anti-sacrificial. They are mainly concerned with the development of the 'individual' - as if it were possible to separate this imagined entity from all the rest, focussing on his or her daily experience and its supposed enrichment. They are then part of the avant-garde of the reformism of everyday life, that is, on the surface level which it then claimed to be able to move inwards from. What 'cults', as well as e.g., the 'Growth Movement' ultimately sell is a sense of belonging through the consumption and participation in a 'whole way of life'. People are no longer being sold 'things' (which one would of course expect, if we assume as above, that the starting point of the 'transformation' begins at the point of contact with the so-called outside world) - but are emotionally seduced by consuming experiences, 'Growth', and readymade communities, often mediated by high-energy, powerfully charismatic leaders or 'Gurus'. The commodity basis of these "scenes" is obscured by its participatory nature, whereby 'individuals' seem to dominate the proceedings and centre of interest. However, the personal liberation being sold, despite certain genuine attractions and possibilities amongst some aspects of these organisations remains ultimately frustrated because of its narrow, narcissistic a-historical view of the individual: the search for passionate activity founders on its triviality and blinkered aspirations to that which is already present. Each scene remains closed and enfolded in a

vacuum, and in the end it becomes stupidifying, and more importantly, dependence inducing. Nevertheless, it is just one aspect of the 'revolutionary movement' to have failed to have hardly experimented with diverting the techniques and knowledge (however illicitly gained) to radical use, generally preferring to crudely dismiss them as 'Escapism', 'Middle-Class Pastimes', etc.: just one more terrain given up without much of a fight.

"Guerilla Conditions...

In the secret society, the individual is still relying on a collective organisation to effect his differentiation for him: that is, he has not yet realised that it is the individuals task to differentiate himself from all the others and stand on his own two feet, and then to relinquish that differentiation in another more positive way that feeds no- body. All collective identities, such as membership of organisations supporting the use of 'isms' and so on, are crutches for the lame, shields for the timid, beds for the lazy, nurseries for the irresponsible: but they are equally shelters for the poor and weak, a home port for the shipwrecked, the bosom of a family for orphans, a land of promise for disillusioned vagrants and weary pilgrims, a herd and safe fold for sheep, and a Mother providing nourishment for a kind of growth. Collective organisations seem so essential today, that to oppose in the name of individual autonomy almost every organisation's structure and illusions as being somewhat distorted mirrors (without the possibility of travelling through them) of the dominant reality, appears as megalomania or simply hubris.

"Be in the world, not of it..."

The major upsurge of these movements occured during Gysin's The major upsurge of these movements occured during

Gysin's development into the creator of trip work by which we came to know him the most poisonous fruit that these systems bore must surely be the creation of the transparent ethic of "Become Like A Sponge" a phrase which lurked with open jaws behind many pronouncements of his contemporaries. But sponges absorb piss and perfume indiscriminately; they got heavy but never grow, and they can be easily be squeezed by anyone who chooses to exercise the muscles of a careless hand. They remain inanimate objects. The magic of the past communalist practised, first playfully, then seriously, had a material and concrete basis when technology was primitive, which constituted on a basic level, a game within nature. Contemporary application is now only a ludicrous substitute for what is now materially possible; a real game with Nature without religious meditation, without conscience, and without it being explained in terms of God or gods, even if this is the source of the original impetus and eventual return and resolution. To make the result of research live in the present, it is necessary to understand the past (and, for that matter, the present itself - as Gysin preferred, the pre-sent) - not in terms of its own understanding of itself - the knife trying to cut itself but as a state of Man's historical development of his relationship s with the world, and the productive and creative forces. To rip off the potential of the past in the highest act of sacred thievery, without becoming ensared in its limitations. And this follows on naturally from the tradition spoken of earlier: in texts associated with it lies the premise and practical tool that the Teacher first be 'seduced' by the Pupil (hence the allegories of love in the sacred and enlightened poetry not to be found in the Q'ran), in order that knowledge can be 'stolen' from him. It is a sleight of hand, a real form of Conjouring, and requires the highest qualities of awareness and alertness in order to complete and wrest this understanding for it must not be thought that this is mere knowledge or accumulation of data that we speak of here. Unlike everyday ordinary 'criminal' theft, this is of decidedly another order altogether: the Teacher finds the Student in order to present the temptation, the challenge. The true Teacher has more than enough to spare, but knows full well that the Student must stretch to the upper limits of whatever they are or conceive of themselves of being and beyond before anything worth 'having' can possibly be passed from one being to another.

"In Present Time..."

The word 'Alchemy' has its roots in the Islamic world, originally being taken to mean "the black art" (AI-Chemy) . This should not be taken to imply 'evil' as it is so often interpreted in the Western world. Rather, it means to rise from the dirt of existence we are placed in merely through 'knowledge' to the higher realms. It is the cleansing of the earthly dirt from our real selves. Its sacred nature is contained within the fragment of the divine name ALLAH - the first outward breath being taken to mean that in order to create, one must first give (out), not knowing, and indeed, not being able or even allowed to expect reward or any form of completion whatsoever, save in the transcendence of mere words and terminology - as if this was not great enough reward in itself. It is a complicated metaphor, which of course has its most familiar expression in Western forms; but both East and West have the same but commonly ignored or misinterpreted basis: that of raising base material into higher. This is very potently exposed in the rituals of The Master Musicians of Joujouka, where the breathing and circular movements, plus the precisely co-ordinated rhythmic and tonal structures of the accompanying music (The claims for its healing qualities for example having been recently investigated and verified by recent French laboratory work) create by resonance on the physiological and spiritual levels a raising of those vibrations within the participant in the rituals, to higher and higher states. What is curious and almost unique in this particular modus operand! is the dual nature of its effects - on the one hand, the participant (there are no 'observers' or 'onlookers') has a very personal and seemingly exclusive connection with the Universal Spirit or consciousness, represented in this system by ALLAH, and at the same time cannot separate the individuality of the justifiable and legitimate sort from the utter dissolution and immersion into the ritual experience. Not just the group of practitioners, but with life itself. Not only is he singing, but has become the song and is being sung. Here we have the beginning of a practical approach to correct empathy with the output of Gysin himself. The confusion resulting from the total paradox which it presents in part and as a whole is generally dealt with or merely expressed by those attempting to comment or pigeon-hole it as "the-stranger-in-the-skull" feeling which permeates in an almost subliminal manner the entire 'ouvre'. The closest we have in an actual printed form from Gysin himself that confirms this is the statement that he felt that he was, "Delivered in the wrong packaging wrong address, wrong number. . . " What this skilfully manages to hide is the underlying formula for the initial point of the Alchemical process, the 'materia confusa', which is seen as the basis for all creative life. It is the divorce, separation and dislocation of all things that must be fused back together again in the crucible of the body in order that a soul might be

'cooked'. The disparate elements must be wedded once more within the person. Hence the derangement of the senses, not only it) the legacy of the ecstatic rituals of the Joujouka, but the progression of the perhaps more Western application of the fragmentation of the world as perceived by our new 'eyes', i.e., the media, technology and so on - by The Cut-Ups. This is now transformed by reference and cognition of the aforementioned into a private ritual (made more explicitly so because of our antagonism resulting from our enforced and tutored laziness), which is at the same time able to deal with the rest of the world/s in the broadest aspects possible. All these techniques have the same underlying message: that of the separation and externalisation (therefore ennabling the achievement of 'objectivity') of image from reality to go out in order to see the necessity and possibility of returning inwards once more - in a very real and immediate sense. And this current can be seen to inform Gysin's creation all the way along the line; the general and indicative function of shaping experience into one multidimensional time frame. With both his paintings (whether calligraphic or more conventionally pictorial - although this distinction is perhaps merely an academic one), and arguably his most important realisation, the Dreamachine, areas are outlined and the completion of the cycle is only possible by recourse to the completely ruthless examination of the state of the viewer. What they get out is utterly dependant on what they put in. This unconventional and neglected approach allows the maximum possible space within the given parameters, but does not prevent their further expansion. It reduces imposed meaning by 'speaking roughly', in order that the real message or import/content is apprehended through interaction, or at the best moments, mutual feeding. Few though they are, Gysin's writings bear this same hallmark. It is like trying to plait with fog, if they are approached in the same way as other kinds of writings where an explanation and resolution is implicit in their construction. There are no solutions in the back of Gysin's books. All of Gysin's work can best be compared to guide books, where the basic information is supplied as to the area or region, but to make the process come alive or in fact to become meaningful in any way, in order that the pages do not remain mere writing, one must actually BE in that place. And also, just as it is with guide books dealing with particular lands, the information can actually lead the reader to a specific real place, but the act of travelling itself must be carried out by the person concerned themself. Once again, the close connection with the Sufic conception and attitude to the word, or symbolic creation if you will, can be detected - words have no power unless intoned, i.e., acted upon, dealt with or assimilated.

This has personal ramifications that should not be overlooked. It is not a question of Gysin's trying to hide behind his work in order to create an air of mystery that forces the cult of personality into operation (sadly not the case with most of his contemporaries), rather he is almost unique in recent memory in allowing the focus of his work and the act of focussing on and into it, to pull the recipient back to themselves through light, and not reference to the author. Gysin always maintained in painting, print and in interviews, that his purpose (although he realised and allowed us to deduce this realisation by his constantly partial mode of representation, that to encapsulate this phenomenon was doomed from the outset to failure) was to simply deal with, all colours. The 'black' from which we must rise contains all the colours in the physical realm.

"Every magician eats his own excrement eats his own words..."

...and words are never enough. They are the jumping-off point for most of so called Humanity, but the dim realisation that Gysin is able to pin-point and touch remains. And that is that the word must now be abandoned as an outmoded artefact. It is the imprisonment of ideas, simultaneously enabling the commerce of same, and therefore the beginning of communication, but also the seeds of its destruction. And to reinforce what may have been a very dim realisation of the essential truth of the matter was the fact that most of his close associates, i.e., the Joujouka Musicians, could neither read nor write. Their interaction with the world and with others was on the intuitive and non-verbal level - that is, when dealing with matters of some importance. That Gysin was almost entirely unaware of his sphere of influence is a measure of his adherence to the tenet of 'giving out' and 'letting through" - not the grasping of the illusory and temporary 'rewards' of this life. Admittedly, much of this was conveyed by such as Burroughs, who exploited for better or for worse many of the techniques either invented or re discovered by Gysin. Further evidence, as if it were needed, is provided by his statements concerning those in direct lineage to the techniques initiated by him - whether consciously intended or no. His approach to them as people reveals a bond between his thinking and that of his spiritual ancestors, whom he briefly came into contact with to learn, not by rote or parrot fashion, but by experience.

And this is the opportunity, so rare in recent times, where the offer on the plate is held in the highest esteem, that allows reciprocation - involvement in the positive sense - interaction with the roots and source of the creative act be engaged and connected with. It contains in germ form, the ground floor of being. His terminology reveals much - 'deceptual' as anathema to his credo - it is evident that Gysin always sought the real world, which is an area or plane infinitely more real than the world of appearances, formalised labelling of tables, chairs, etc., and once more, an acceptance found in all religious and philosophical systems - that what is important "when the chips are down' are those things that cannot be grasped with the hand, pinned down like butterflies, dissected like laboratory rats. And yet, on another level, they CAN! It only requires that the terminology passes from that which is capable of reduction to that which is only capable of expansion. This is the realm where shadows speak, small people and creatures as yet uncatalogued scamper unfettered, building tiny homes from the debris we cast aside thinking it worthless. These jewels ignored by us glitter in the half- light, noticed as abberations by those with rudimentary periferal vision. This, it must be realised, is a kind of war - mirrored in the struggle against delusion and artifice spoken of earlier - and it involves and necessitates Shamanism of the highest order. The best metaphor for this process states that for the apellation to be fully deserved and therefore applicable, the Shaman must become purer and purer, giving up more and more like an ever more sophisticated transistor radio. The better the quality of the receiver, the clearer and more faithful the energy allowed through the network becomes. The reproduction has less 'interference'. But this, on the human level, involves great cost. It is a price that few are willing to pay. But it is the only price worth paying. That the source must spring up through every sentient being on the planet is a fact that, yet again, is contained in the writings and teaching techniques (no matter how obscured) of all religions. And this brings us to the realisation that there is no place to hide. It is a modern metaphor that can be utilised in view of our present circumstances for our benefit, and the eventual raising of our collective and individual consciousness.

"There comes a point where

everything becomes the Guru..."

Human endeavour and activity has, for as long as recent memory can recall, made a concerted effort to replace periferal vision with a set of permanent 'blinkers'. The concentration and distillation of creative output of all kinds witnessed in the absorption that is accomplished scarcely in the bat of an eyelid, means that categorisation and therefore limitation is the language that is imposed on all individuals. If this were to suggest that the individual has no status except for that as reconciled within the greater whole, there would be little cause for alarm. Indeed, this would indicate a healthy and consciously determined state of affairs. Instead, a cellular mentality is now nearing a state of symbiosis with the host, and threatens to rot away to nothingness the very supports of sanity. Small pieces of worthless territory are seized with increasing fervour, violently and totally defended from interaction and encroachment by any other party, regardless of any other possibilities for development that may or may not exist. The walls are becoming thicker and thicker, the tongues in which messages are being sent out into the world become more and more insular, and the word 'understanding' is in grave danger of being supplanted by a knot' jerk reaction to elements that the recipient feels encumbent upon himself to encode and further coat with his own sticky, but nevertheless sweet layers, in order that his own house of Straw is not blown down. On the one hand, we crave for proof - however slight - that we are not alone in thinking the way that we do, that our roots are firm and embedded in the same soil as our ancestors, traditions and loved ones. Any chance for identification (another running away) with another system or process - preferably as far removed from our own experience as possible - is ruthlessly gobbled up in order to present it to others as unique and unshareable, save by an elite few. On the other, the terror that shakes us and causes more hours of sleepless nights that nearly anything else, is tftat the path which we embark upon may have been trodden |ay others before. This is truly a modern malaise, and sharply contrasts with still existing (though nonetheless fading, due to our penchant for fixing that which is not broken), traditions, in generally considered 'backward' or 'undeveloped' societies, where tradition is seen as the only way to avoid plagiarism. And yet, the way to circumvent this process which seeks to destroy the very fabric of

Nature and replace it with the deafening and deadening hum of machinery, which knows nor recognises no such concept of the Soul, has always been with us, under our very noses, in the self-same sets of information and teachings that current circumstances artificially created by those that 'know better' strongly suggest we should abandon as outmoded and useless -in present time. Although there is in everyone the realisation glimpsed in moments of crisis, ecstacy, or other inexplicable flashes of the real world that only a fool would ignore, that we are separate entities in the box that we call 'ourselves', there is always the backdrop that sets the scene and feeds and initiates the germination of the seeds: that is, that we are mortal. We share the same fate. All of us. This is the axle upon which the world turns; that everything is fed by everything else. And though the symbols are as numerous as the lives of human beings, what these symbols represent contains the same essence as all the rest. A grain of salt has exactly the same properties as a bushel of it. The aforementioned fact, for it is truly of that status, allows the only legitimate identification, that of being able to enter into the position of others. This facility, given free by Nature in order that She might be repaid, is at once mediumistic and shamanic. It requires possession in the positive sense of the word in order that the person realises that they cannot be said to own anything at all save for that which they have paid for.

"Effort is our money."

Complacency brings us to a state of utter destitution, and all energy grounded in this way is lost forever. It requires the destruction of what we call, wrongly, ourselves, in order that others may live.

"We are what we can do."

This should not be taken to imply that mindless so-called "creation" upon which so high an importance is placed at the present time, which only fills the worlds rubbish bins to the brim, but should be understood as the possibility to reach out from, and confront the challenge of, our physical and mental limitations - insofar as the apparent safety net of our self-pride constrains us. It is a truism that we cannot tell anyone that which they do not know already. But what do we know? The answer is that which has been continually answered since time immemorial: that connections with higher realms of vibrations, being and development is possible, but only in the act of collaboration and interaction with others. The solo attempt is only valuable when it serves as a preliminary rnap for the use of others. There exists the very real capability to build structures within this world that are in accordance with the old cliche that states that the whole can be greater than the sum of the individual parts. The assimilation of any kind of food implies conversion of one kind energy given out. And change, when considered in Isolation, is frightening - seeming as it does to strike at the foundations that it is expedient to think of as solid. But the real and natural base upon which it is truly legitimate to strike out from is necessarily at all times in a state of flux; if it were not so, no exchange would be possible. Note the paradox: ex-change. The realisation of the necessity for such an access point does not spring from a desire for personal self- agrandisment, or a cloudy vision of distant peaks impossible in reality to ascend. The work now being undertaken requires, it can and is perfectly realised, the hardest effort of all, and the individuals now engaged in these practices have, through personal experience gained in a multiplicity of situations, come to these commitments with their eyes wide open. The bread is being cast out upon the waters. By their deeds shall ye know them. The concept of sympathy, or more correctly, empathy, is to be found throughout the history of the production of all kinds of sonic information. Even in the physical properties capable of exposition, one finds that a vibration starts from the alternation of the extreme opposite of its parameters, affecting its immediate surroundings, speading out to affect so many others as the limits of its orgininal imetus permits. And so, the laws of vibrations (i.e., sound) form the basis of all religions and philosophies in the beginning of the passing from one 'state' to another. Vibration is the very cloth from which all things are cut, and thus is the vehicle in

which all may travel, it does not preclude the attribution given it by the Alchemists, those experts and architects of life, of materia confusa. But it provides the format from which all else arises. COMMUNICATION is built on the cognisance of this SPIRALIC property of life; it is its life blood, and seeks to amplify those points of initiation and of impetus that ennables the world to turn. By acting in sympathy and with empathy as mentioned above, by resonating in accordance with the forces that we are so keen to ignore but provide the only escape from compartmentalisation - and ultimately the only real "freedom": that is, being in the world and not of it.

"Freedom is always a threat to someone."

And yet once more, this is a cause celebre: for by 'threatening' in a manner that denotes capacity for development in place of estrangement the possibility is created - and then the 'fellow-through' initiated - brings a shock that awakens and stimulates the inherent but constantly denied potential to real-ise. To come to now. To be here. And only by knowing where we are can we know where we can go to. Denial of whatever state we are in is not conducive to survival: to willingly accept the scraping of the jailer's key in the self-made lock that confines us to our 'individual' cells can be treated with nothing but contempt. Mistaking discipline for the death of real pride in oneself (one of the rarest of the rare) is the easiest and yet one of the most reprehensible faults available to anyone, anywhere. It is also a gross mistake to think that these ideas are the ramblings of some abtruse philosophical system based on mere mentation, and not that which it really represent; that is, a combination of a group of people working as much as it is possible to co-ordinate the three centres under our control:- impartial mentation, feeling (emotion), and physicality. Unless these centres are in balance with each other and themselves, and with what is named 'conscience', it is indeed possible to turn the world into a flat, twodimensional picture that it is impossible to vandalise with impunity.

Let the vandals multiply, and the desecrators of sacred cows flourish and prosper no matter how their own conscience sits - for only giving and not taking can bring true fulfilment. The ripples in the pool spread out from us and create more water capable of creating more ripples; that the force that generates this endlessness may be misinterpreted is not at issue. We await the first overflow of conscience and of hope that is inherent in all; that of progression and acceptance of what is possible and not merely desireable becomes the aim of an ever more widening frame of reference; that trust, appreciation of beauty that is underneath the surface dirt of being in this world on this limited and limiting plane from day to day can regain its rightful place; and that people can actually learn from being alive, is our hope. Was Brion Gysin's hope. And there is hope. Always.

Back in no time.

A.M.McKenzie Amsterdam 1989 (Revised from 1987)

-oOo-

The DREAMACHINE as presented here is constructed and annotated with regard to the eventual supplantation and possible further enhancement off its effects by the reciprocal feedback by the purchaser and/or viewer. To this end, here follows a questionnaire which it would be of the greatest help to further work on the project if you were to complete and send it to us. These questions are not to be regarded as imperative, but we would hope that all 'participants' would write down in as clear a manner as possible, and as fully as possible, their reactions and responses to the construction. * Was the Dreamachine decorated or otherwise altered from the pattern here enclosed? * What base colours were used? * Was Calligraphy used, and if So, what style, what language, and of what content? * Was the speed as suggested elsewhere in this text? * Was the wattage of lightbulb as suggested elswhere in this text? * Was the positioning of the lightbulb as suggested elsewhere in this text? * In what situation was the Dreamachine used - type of room - general description of ANYTHING pertinrnt - and including the time of day, atmosphere, weather, etc? * In what direction was the Dreamachine pointing - or, in what direction was the viewer pointing while viewing? * Were any other additional stimuli involved - drugs, music, etc. , etc. ? * Please give a general description of yourself - this should be as full as possible, containing details of physical build, general health, gender, location, job or occupation (if any) and what expectations were present before viewing. * Please give details of pulse rate and temperature before and after viewing. * Were there any physical reactions or responses, voluntary or involutary during viewing? * In what way (if any) was experimentation with positioning of the viewer's head in

relation to The Dreamachine carried out? If so, please give details. * Was there any deliberate attempt to align the Dreamachine to North, South, East or West? If so, which direction was the viewer facing etc? * What was the length of time of viewing? * At what time of day did the viewing take place? * Please give as full an account as possible of your experience whilst viewing preferably written down as soon as possible following the experience/s itself/themselves. * Please give any other impressions which may have carried on following the experience. Please address this report, which will be acknowledged in writing, and used only with permission, in further research and publicatory work with regard to The Dreamachine, to: THEE TEMPLE Alexander 1071 Amsterdam The NETHERLANDS OV PSYCHICK YOUTH/THE Boersstraat HAFLER TRIO 30 KZ

All material is welcomed on any level, and will be regarded as private and confidential.

-oOo-

NOTES ON THE RECORDINGS "Sound to enhance the effect of Brion Gysin's DREAMACHINE", parts one, two, and three (part three being available only on the Compact Disc version of this release), are composed with regard to three separate processes developed, unfortunately, without the knowledge of Brion Gysin himself. They are, however, constructed alony principles laid down, not only from the original impetus and construction of The

DREAMACHINE itself, but from guidelines gathered from Gysin, in conversations and written works concerning the machine itself. Every effort has been made to align the principles suggested by him with those made evident by the researches carried out by ourselves with The DREAMACHINE. Developed from a chance occurrence as described elsewhere, the initial recordings were made by A.M. McKenzie of The Hafler Trio on a specially modified binaural system, with the DREAMACHINE in the collection of TOPI. These recordings, which feature vocal and breathing effects, based loosely on Bon-Po Tibetan Breathing exercises, from A. M.McKenzie, Genesis, Alaura, and Caresse P-Orridge, were then layered and modified at the facilities In Suitcase Studios, England. Selective equalisation was used, with the technical assistance of J. Hoskins, of the Department of Neurology, University of Newcastle Upon-Tyne, in order to emphasise to the point of ultimate effectiveness and maximum utiisation, frequencies present in the original recordings. These emphasised frequencies corresponding to the Alpha waves in the brain, that is, between thirteen and eight pulses per second. The purpose of the various layers was to bring into balance the Male and Female forces In direct proportion with one another, given that it is expected that Male and Female persons will eventually be subject to the effects and influence of The DREAMACHINE. The second part of these experiments deals with the Quabalistic applications of the word 'DREAMACHINE' Itself. Admittedly, The DREAMACHINE is constructed from Islamic principles, and the form of Quabalism used with respect to these constructions is essentially Judaic in nature, but as Gysin also knew, the roots of this ancient Art stem from precisely the same root : the realisation that sound encapsulated in the Word, written or spoken, is capable of dissection in order to ascertain the correspondences and ramifications of the inner meaning/s presented by a material manifestation, on all levels. Written as one word, as Gysin always referred to it, 'DREAMACHINE' (values are read 4 + 200 + 1 + 40 plus The Dreamer (1) = 666 from 300 left 70 to 50 right) 665

- the number of 'The Beast'. This can be identified as the number of markings on the sacred mushroom (SOMA), which must be 'ridden' to the unknowable and sacred realms. Cycle, Generation, Pyre, Row, to Revolve - [quabalistic sign] (pronounced Darom - South) - [quabalistic sign] Court, to Winnow, to Carry - [quabalistic sign]

To Appear, to Meet with, to See, Sight - [quabalistic sign] High, Exalted - [quabalistic sign] Revealer of knowledge, Creeping Thing, Evening - [quabalistic sign] "The To Serpent", Think, Twilight Touch,

Womb, Existence, The Cubit, Speak, Fear, Awe, Handmaid - [quabalistic sign] Two Lights, Sun & Protector, Aid, Secrecy, Hidden - [quabalistic sign] Moon Prepare, in

The Sky, Feel,

To Look, Rock, Foundation - [quabalistic sign] To Produce Apparitions, Having Rings, Colours, Contemplation - [quabalistic sign] 666 - [quabalistic sign] This is neccessarily a primitive exposition, but an effective and preliminary excursion into the revealed possibilities of the correspondences laid bare by this technique. It is hoped in the future to carry these explorations out to their fullest possible extent. The recordings themselves in this second section are layered and processed using only these numerical revelations and revolutions, with regard to all the parameters involved in the processing, and in particular the psychoactive equalisation treatments. Present on this recording are 1111 voices. The third part of this exploration of the sonic properties and complementary interfaces consists of the movement and travel possibilities suggested and reinforced by the mathematical properties of the shapes of the holes in the DREAMACHINE. These shapes relate directly to the Art of Sufic Geometry, and with first hand aquaintance of these practices, this third sound recording was constructed. The movements in the sonic field are based and extrapolated from the underlying properties of space and time, as contained within the doctrines above mentioned, dating to over two thousand years ago. All the above recordings are mastered digitally at The Radio Art Foundation Studios, during April of 1989. It is strongly recommended that the first listening, accompanied by the experience of The DREAMACHINE itself, be carried out on the highest quality headphones available. All possible configurations are nonetheless possible, and also suggested for possible experimentation. As the recordings themselves are constructed with the strictest possible connection and utilisation of the essential principles of the DREAMACHINE, other possibilities for utilisation of symbols, Eye, Vision,

patterns and constructions to be used in conjunction with these rpcordinqs are to be stroncjiy encouraged. These recordings also form the first body of sonic explorations by TOPI and The Hafler Trio, and further examples will be made available in the near future. Suggestions, reports on listeners/users experiences, etc., are welcomed and solicited.

-oOoNOTES ON THE DREAMACHINE ITSELF The construction and production of the Dreamachine, as presented here, was fraught with problems - as a result, not least, from the death of Brion Gysin himself. Before his demise, no plans were given to anyone, except those used in production of the few existing examples present in two Museums - one in New York, and another in Basel. The pattern for The Dreamachine has been published a few times in various publications all over the world, but unfortunately, these are all incorrect. The hitherto available examples rely on modified patterns, giving far less than the optimum effect. The present pattern is based on the examination of the plans as used for the first exhibition in Basel, and has been scruplously calculated to produce the effect as intended by Gysin and Sommerville. There were many prototypes prior the development of this final version. The first examples known used simple, rectangular slots cut out of the cylinder, and were rotated in a primitive manner by hand. Slowly, the present design evolved, drawing heavily from Sufic geometry for the shapes of the holes. The reason for the various different shapes lies in the mathematically calculated rate of 'flicker' possible by the suspension of a lightbulb within the rotating cylinder. By changing one's relationship to the proximity of the cylinder in operation, the full range of interruptions of light between eight and thirteen a second are possible. The Alpha waves in the human brain vary from individual to individual, and thus, it is recommended that experimentation with distance, height, etc., be carried out by the viewer. Notwithstanding this, there are no recorded examples of brain waves (known to us) that fall without this domain. With this package should be a cardboard tube containing the Dreamachine itself should this NOT be the case, the purchaser is directed to return to the source of purchase. The price of the package, whether Compact Disc or L.P., includes the Dreamachine pattern. This is supplied in black, and this is the first point of difference between Brion Gysin's Dreamachine as used by him in his apartment in Paris and elsewhere. The reason for this arises from extensive researches carried out by The Hafler Trio, where is was discovered that the strongest effect was produced by this colour cylinder. Black contains all the colours of the rainbow, and provides the maximum alternation of light and dark. For those who wish to experiment, Gysin's

machine was silver on the outside, and contained his own calligraphy, written on an orange/red and green background. The background was not a solid mass, but featured (in most examples capable of examination) these colours printed in his 'grid' structures, applied by a specially modified roller. These machines were surrounded with a plexi-glass screen, thus preventing potential lasceration of the nose by the whirling (metal?) cylinder, but also denying access to the sonic properties of the construction. The original plans have been meticulously scaled down to allow rotation at 78 r.p.m, which is provided by the purchase of a suitable record player. If one is not at hand, the purchaser is advised to frequent the numerous second-hand shops that festoon every city in the world, and for a small outlay, we assure you that one will be found. Having obtained such a machine, the next step is to cut the holes out of the Dreamachine. This should be done with a steady hand and a sharp blade - such as a Craft knife or Stanley blade. This should not take longer than a half an hour. Rolling the Dreamachine into a cylinder, affix the overlap section of one hole over the other 'end' of the pattern, with glue, staples, or any other available means. Please ensure that the join is exact, and that the overlap corresponds precisely with the existing holes. This having been done, place the Dreamachine EXACTLY on the turntable, and rotate it gently by hand, ensuring that no 'wobble' is present. At the base of the cylinder, attatch the structure to the turntable. This can be effected easily by 'L' shaped pieces of cardboard, one side being glued to the Dreamachine, the other to the turntable mat, or a base, also of some suitable material, similar to record, or some such. Check once more for any elliptical movement. If this is not present, the Dreamachine is ready for use save for the suspension of a 60 watt lightbulb exactly in the middle of the cylinder. This should hang approximately level with the end of the first 'row' of horizontal shapes in the cylinder. Experimentation with this aspect, too, will provide differing effects. The turntable and cylinder should be positioned so that eye-level, when sitting comfortably in a chair, rests easily at the beginning of the third row of shapes. Once again, the viewer is urged to experiment with different positionings after this first try out. Make sure that the Dreamachine is stuck firmly to the turntable mat or base, and operate the 'play' button, to make the construction revolve. The viewer should sit at the aforementioned height, nose approximately one centimeter away from the turning Dreamachine, eyes closed. As mentioned above, experimentation with all the parameters involved is strongly encouraged, as is the alteration of colours on the inner and outer surfaces of the Dreamachine. The calligraphy can be of any content, but should mean something precise and personal to the writer. Any medium that affixes easily is suitable. The outer surface, it is suggested, but is not unable of alteration, should remain plain whichever colour is finally decided upon. Before decorating the Oreamachine, we

recommend that the plain version be experienced as it is. During all viewings of the Dreamachine, we would request that the viewer/s write down immediately following a session, their thoughts and impressions. Please see the enclosed questionnaire for more details. This is to enable us to progress further in our researches. A last point is that the original plans consulted specify a hundred watt light source. Because of the reduction (approximately one third) of the size of the Dreamachine as here enclosed from the original plans, it has been found that this is too strong. But again, we encourage experimentation unreservedly. The recordings supplied in whatever format should be played simultaneously with viewings. The recordings themselves are designed to produce an expanded effect of the Dreamachine by utilisation of frequencies in the human brain's Alpha-band as mentioned elsewhere in this booklet. Furthermore, as the Dreamachine itself is such a personal experience at this present time, headphone listening is advised as the optimum. Loud-speakers are effective, but yet again, placement and usage are capable of infinite variation. Please consult the other information and questionnaire contained in this booklet.

-oOo-

THE DREAMACHINE AS INSTALLATION IN PUBLIC

The Dreamachine was first presented to the public as an installation complete with a modified version of the sounds enclosed here on Saturday, the 13th of February, at 22.30 hours, at Aorta, Amsterdam, The Netherlands, 1988. Aorta was a part of a squatted newspaper building, the old offices of the NRC Handelsblad, a national Dutch newspaper roughly equivalent to 'The Times' in London. Situated in central Amsterdam, Aorta, was originally the printing press works of that organ. It has now been demolished to make way for new overpriced apartments as a pert of thre general 'cleaning-up' campaign taking place in Amsterdam in readiness for the opening of the European borders in 1992. Aorta cbnsisted of two levels, built from solid concrete, undecorated, with railings to

prevent print workers from falling from the second level into the machinery below. A very large space, it accommodated six fully operational Dreamachines, two of aluminium and four of black card. All the Dreamachines were decorated on the inside by elaborate calligraphy, in accordance with the Islamic tenets involved in the genesis of the machine, investigated, learned and executed by A.M.McKenzie of The Hafler Trio. The event was widely advertised in Holland through radio and the press, and drew a crowd of approximately 250 visitors. No one was allowed into the building until 23.30 hours, and upon entering, visitors were presented with a broadsheet explaining how to view the Dreamachine, plus other brief historical information. All the Dreamachines were turning, operated by six attendants, four from Radio Rabotnik T.V., the leading pirate radio and cable television network, and two members of The Hafler Trio. To begin with, the only sound emanated from a video tape being displayed by monitor on the uppermost level, a programme made by The Hafler Trio and Rabotnik T.V. in collaboration with Thee Temple ov Psychick Youth's archives. Free access to the Dreamachines was available at all times. At the end of the transmission of the programme, the sounds were conveyed through six large Bose P. A. Speakers, and the phase relations controlled in accordance with the Quabalistic operations suggested by the word 'Dreamachine' around the entire space of Aorta. Half way through this, sound was added live in the same manner as the construction of the enclosed recordings by the two members of The Hafler Trio present, through and with the two aluminium Dreamachines. This was relayed through a set of four separate Bose P. A. speakers. The performance lasted an hour, but the machines revolved for a total of three hours. Each machine was different, and most visitors viewed more than one in the relaxed atmosphere. At the end of the performance, "The Cut-Ups" and "Towers Open Fire" were also displayed via the video monitor. No alchohol was served until half-way through the event. The entire event was videotaped, and is being edited for eventual release at the time of writing. The Dreamachine installation, unique in the installation area, and carried out with the principles set out by Brion Gysin before his death, is still available. Further information is available from :

Thee Temple Alexander 1071 AMSTERDAM The NETHERLANDS

Ov

Psychick/The Boersstraat

Hafler

Trio 30 KZ

It is hoped that the world premiere of an event that allows unlimited participational freedom for all wilt not be the last.

-oOo-

CREDITS The copyright on all written material in this book rests with the respective authors. Some sections have been previously published elsewhere, but even these have been substantially reworked in nearly every case. WHAT IS A DREAMACHINE was originally published as the text of a catalogue accompanying the very first museum showing of the Dreamachine in Basel, Switzerland. All photographs in this package are taken from the Dreamachine videotape available from Staalplaat, P.O.Box 114543, 1001 GL, Amsterdam, The Netherlands. These were taken by TVD. Front cover calligraphy is taken from the first ever published pattern for the Dreamachine by Brion Gysin. Used by permission. The initial Quabatistic elaborations of the word Dreamachine suggested and carried out by Z'ev. Label calligraphy from an unpublished and untitled calligraphic poem by Brion Gysin. Used by permission. As stated elsewhere, we welcome all and any further research into the Dreamachine

on any level. There will be further issues of the resulting research and additional sound experiments to be used in conjuction with viewings. These would also contain details of further developments and new techniques. Typeset at Suitcase Studios and The Radio Art Foundation during 1989. Layout by A.M.McKenzie and Jon Wozencroft, who also performed the onerous task of liasing between printers and producers. Dedicated to those that accept this in the spirit in which it is given.

-oOo-

The Hafler Trio site's without whom: Eric Suitcase net-version (as always): ab