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


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.

Guerrilla Ontology

Principia Discordia


Neotango and Tango~Nuevo

The 23 Enigma





Adam Weishaupt

John Dillinger & 23  -The Illuminatus! Trilogy


Herbert Popnecker

Heisenberg Uncertainty Principle


Accompanying images, except for the Fnord Logo, are some of my previously posted compositions.

Noir no Noh Journey: a Forest Fragmented Reversal Pose

The Memoir of Dadaist Detective

Case 0gh1

~Noir no Noh Journey:

a Forest Fragmented Reversal Pose~


City or house, a sole alias supports a lung beneath a simulated plastic soul. At the head of the first flight of a begrimed stairway, leading up from a broken entrance-way, on a street by the Del Sloraine Theatre, stood a door. Behind it was the office of Hazelton Dzeusas. Dzeusas was a massive meandering aggregate of equivocations. Whether he was dead or alive depended on who came through the door before the clock hit a minute past three in the morning.

Note in a dead man’s hand

>> Suitable gift apartments are classified by the court.

I hate you – slimy-gloams and thespians dance under the midnight sun.

the corner raven is watching you,

like a tongue around a thistle drum,

a strip of smoked paper,

a pencil point tracing

on an eye’s sooty surface.


First Observation after finding the note:


A surface strips a documentary remainder into the outsider’s existential standpoint (See David Lynch’s “Tuesday’s Lagoon Serenade”), facts fall in a fractal of farce – An inefficient friend lathers the gratuitous liver. The Protagonist/Victim in a Petty Noir better know a good dentist/anthropologist. A Hard-boiled Mystery mulls the mumbling mind in a numbing wine of conjecture; find the Erhu player before they do (don’t tell Jacques).


Sign above the counter at the Enticing Erhu Grill

The beautiful sea is different.

To know the reluctant battery,


spirits’ songs in lower economics.

Sleep brings toad shadows to the party.

You are not new.





He walked along MacAdams Street, the theatre goers had long left the sidewalks for home or candle lit encounters. Reaching the wider cross street, he contemplated garish billboards featuring a dissociation of sensibility – motives for murder rose on the steam of the street. Gradually there was a will, and the cigar posed back and forth.



To the left were sound stages, like grappling hooks in reality. His eyes crawled over the jagged cracks in the sidewalk beneath him – verticals following the dancing seals’ explosion. Walking over to the tattered bulletin-board, he read the notices, knowing all streets lead to the murdered and those who saw them last.





~Bulletin-board Notices~

The beloved embryo acts on its own.

Camp in front of the temple to reduce the naturalness.

Participate in liars.

The conversion can be a small part of the solution.

What a snow mountain trailer is when pearls perish.

The Lovely Lady sails tonight – spatula together.


The Erhu player was aboard The Lovely Lady. The swank steam ship was set to leave for Zahmphosise ( See Fishbane’s postcard to his cousin Flexham). As he arrived, he saw a woman running proudly on the deck towards certainty and despair, like a clock racing towards New Year’s.

A shot rang out. A knife blade kissed a heart. The brain was broken. Cellophane foamed at the mouth, like a popped champagne bottle, and he pondered –


It’s terribly shiny.

Carpenters only worship stronger veils.

Lip joy for crawling treasure bean ants;

A handful of noise breaks the heart in half.

Every speaker knew the tree of vanity –

And in doing so,

you push everything

around the spatula into the sky.



Closing observations:


The Erhu player wanted nothing to do with Jacques, after she corresponded with Fishbane. Hazelton Dzeusas was a fool, stupidly sent money to support crazed Canadian truckers, and hated the theatre goers who paid his bills. A mirror is better than a knife in a fun house. Tragic Doggerel was a death sentence. It’s a great time to sail away to Zahmphosise, or maybe El Zothique.