COHERENCE

Coherence is never complete.   Many aspects of my life appear coherent to me, as long as I don’t examine them too closely.   My identity, for example - I am Hunter Hunt-Hendrix, my major claim to fame is a controversial metal band, I come from an unusual family, I’m dating this person, these other people are my friends, I’m hoping for this and that in the next year or so.   Mutually agreed upon accounts of why certain things happened, who deserves credit or blame, what is realistically possible in the political field - In all these cases, and others, there is an illusory coherence that is only possible with incomplete information.  Closer examination, experimentation and dialogue will always - if pursued with perseverance - uncover some particular datum that ruptures the illusion of coherence.   There are aspect of who I am that fracture my standard picture of myself.  These insights are always exciting and empowering, and it is an important aspect of transcendental law - especially when hopelessness, remorse or regret are in play.   Coherence always breaks down, and broken coherence is the piston for freedom.  



KV AND RA

Kel Valhaal ruptures a horizon, Reign Array establishes a horizon.  It must be understood that these two things simply happen on their own through us, if we will only allow them to.  The transcendental is discovered, not created.  One discovers that OIOION is not the same as herself, not consistent with herself.  One can sense this in the fabric of experience at any moment.  There is always something wrong,  something unresolved, something that can be seen from multiple, incompatible perspectives.   But at some point one has to make a decision - and the decision must always be executed by either Kel Valhaal or Reign Array, if it is to be free.  



TEMPORALITY

Music, drama and thought can only join together as a Perichoresis if each reflexively knows itself to be situated on an historical horizon.  Each has to be new on its own terms, to engage its own history and contemporary environment.  Each practice has its own form of temporality.  Music's temporality is eternal, thought's temporality is cumulative and drama's temporality is transgressive



THREE LEVELS OF NECESSITY

Hyperborean necessity is the illusory necessity of an apparent horizon of meaning that is constituted socially.  When this horizon is punctured (by Renihilation) transcendental necessity takes over:  the necessity of one's endeavor and the world to come  (Aesthethica).  And when the transcendental endeavor fails, the highest necessity is made manifest: the savage power of HAQQ



FLICKERING

The key to transcendental law is awareness that the transcendental horizon is not absolute.   And it can be ruptured from within.   The point at which it can be ruptured flickers somewhere on the inside  



LAW AND OBJECT

Transcendental law is posterior to the act in its name.  The transcendental object consumes its subject.   These two basic attributes of the transcendental both represent inversions.  Hyperborean law is prior to the act in its name, and the Hyperborean object is consumed by its subject.   The key difference, maybe, is that the Hyperborean consumes energy from a finite source, and the Transcendental generates  energy as  an infinite source.   The difference is more stark than it appears, because the exchange of energy under the Hyperborean is in any case illusory.  Somehow, in consuming the Hyperborean object the Hyperborean subject actually depletes its own energy

 


TRANSCENDENTAL VOID AND HYPERBOREAN VOID

The Hyperborean Void is the subjectivating void, which is to say the void of humiliation.  Humiliation is the core of ordinary subjectivity, a wound torn by arrows of language.   The reasoning brought about by the Hyperborean Void does not know its foundation.   It can in every case be recognized by ontic attachment:  I need this particular thing, person or outcome, I need to be attached to this limited, finite source of energy that I cannot control.   

 

Underlying such an attachment is an un-expressed infantile fear:  "or else I will die" or "or else I will not be loved".  In reality both of these sentences are approximations.   It is really a sort of categorical imperative: simply "or else".  

 

The Transcendental Void is a void more originary than its Hyperborean counterpart, always obscured in the process of psychogenesis.  The Transcendental Void is itself a source of energy, a mute pain with no reference to the ontic - God's own pain, the Union of Atman with Brahman

 

Obedience to Transcendental Law means love of this void, and the ensuing resourceful, imaginative, unending and unfolding solution to the unanswerable problem it poses:  the Adaptive Apocalyptic Endeavor that is Ark Work



INSIDE

Obedience to transcendental law:  it amounts to staying inside of an auto-generated field of meaning.  I suppose it could be The Ark Work or something else, although I might also argue that The Ark Work is the -only- totally rational field (though it could go by another name, of course).  

How does one stay inside of a field of meaning?  By making deposits, and by reviewing previous deposits.  The field is emergent and always incipient.  It is an eternal beginning.  Transcendental Law legislates that one must drink from the spring of the new.  



To BUILD an OBJECT

The Transcendental is faithfully attuned to a practice.  It requires a comfortable distance from the object that it itself creates and that creates it in turn.   We can hypothesize that the Transcendental is attuned to the unfolding of a Gend, something that is taking place at the level of Alimonies anyway:  a resonance between Figures and Alimonies.  The Hyperborean is attached to an object that is consumed; the Transcendental is oriented towards an object that produces it.   This object leads its subject out of one world and into another world that has yet to be created.  The spiral instead of the circle, as the likes of Chesterton and Tomberg would say.   Bergson's saint.   Emerson's circles.