Guerrilla Ontology and Patacognition
After Forethought, it is the potential of moving, by way of Hyper-thought, past the lower levels of upper surreal sentience into a coercive subtext towards Patacognition. It is at that point the illumination trough of Principia Discordia exceeds subliminal deconstruction, rolled over from the essence, which must still contain the antecedent from whence it is derived as a vanishing element in itself, by raising the flow of consciousness to neotango/tango~nuevo quantum cadence levels.
This in turn, opens a pataphysical channel; outlining 23 phenomenological avenues that assert Fnord in an of itself as an absolute for-itself-metatextual-existence against and for The Other (most often associated with and expressed in a Symbiopsychotaxiplasm para-form or an out-of-body saxophone experience OOBSE ).
Once moved beyond post Patacognition and disinformation tropes of Asemic Antebellum, the counter-self can assert its own freedom as a for-itself-existent and escape captive formality as a new non-Ego transcendence.
NOTE: Having escaped down a nearby rabbit hole, I now live in a neo-Gothic venerable fourth wall metaphor at – № 6^~0, Pataphor Paralle-La-La-La-lelogram-La-La Ave., Tesseract Town, Möbius County, Atvatabar. It is just a short walk through the Twenty Three Acre Ouroboros Woods from Wits’ End.
~ from The Improvised System of Illuminism
(3rd edition 1923)
Johann G. W. Adam Weishaupt
Syntactical Patacognition, amongst other philosophical and linguistic pursuits, is used in the study of American musical theatre history and Literary Absurdist Existentialism. The following example demonstrates how effective this method is in revealing cultural patterns and developmental change.
It is of great interest that, in 1923, Annette Hanshaw debuted in the revue, Silver Apples of the Moon, Golden Apples of the Sun, at The Fnord Theatre (scene of the infamous assassination of Presidential candidate, Quiver Theodore Huosh, April 23, 1921). Her introduction to stage popularity came with her performance of The Discordia Blues. Theatre historians and Symbiopsychotaxiplasm musicologists make note that the theatre burned down after the 23rd performance of the revue.
It was twenty-three years later that Annette Hanshaw attended the revival of Silver Apples of the Moon, Golden Apples of the Sun, at The Ouroboros Theatre. The lead actor in the production, Herbert G. W. Popnecker, had an uncanny resemblance to William Butler Yeats. There were back-stage rumours that Popnecker, cousin of Johann G. W. Adam Weishaupt, was the illegitimate son of John Herbert Dillinger. Tragically, Popnecker was shot and killed in front of the theatre shortly after the 23rd performance of the show. The killer, Gertrude Wilhelmina Heisenberg, was unclear as to why she shot him. Her motive went from being his jilted lover to his poor performance.
While in prison, Heisenberg composed her lengthy and speculative syllabic equation poems, The Clock-face Syntax: Twenty Three Cantos of Hyper-Time. They were better appreciated during the anxiety filled Cold War era. It was then, with the posthumous publication, that her mental state when shooting Popneckerrbie could be better contextualized by musicologists, opening the door to illumination at the syntactical and metatexual level of valid free being self-sameness when the fourth wall had been surrendered.
~ from The Musical Ripples of Subliminal Deconstruction in the American Coercive Subtext: Silver Apples of the Moon, Golden Apples of the Sun
( 2nd edition 1963) Harriet G. W. Warhol
References & Terms
When considering how pataphors relate to metaphors in the same manner as pataphysics does to metaphysics, it seemed obvious to me that patacognition must bear the same relationship to metacognition. Using some lines from a translation of selections from Hegel, I attempted to build up an example of patacognition. The following links will provide a context for some of the terms and individuals referenced/alluded to in this experimental piece.
Accompanying images, except for the Fnord Logo, are some of my previously posted compositions.