The End of the Age of Divinity

  • : Function ereg() is deprecated in /home/indika/webapps/c6/drupal/includes/ on line 649.
  • : Function ereg() is deprecated in /home/indika/webapps/c6/drupal/includes/ on line 649.
  • : Function ereg() is deprecated in /home/indika/webapps/c6/drupal/includes/ on line 649.
  • : Function ereg() is deprecated in /home/indika/webapps/c6/drupal/includes/ on line 649.
  • : Function ereg() is deprecated in /home/indika/webapps/c6/drupal/includes/ on line 649.
  • : Function ereg() is deprecated in /home/indika/webapps/c6/drupal/includes/ on line 649.
  • : Function ereg() is deprecated in /home/indika/webapps/c6/drupal/includes/ on line 649.
  • : Function ereg() is deprecated in /home/indika/webapps/c6/drupal/includes/ on line 649.


The death of Isou marks the end of the Age of Divinity. It was the Lettrist Fazlullah Hurufi, the

Seal of the Saints who opened the age of divinity. It is closed by Isidre Isou, who we proclaim as

the Seal of Divinity. Are we to hereby declare the Age of the Proletariat?
While the religious problem in Isou’s Lettrism was answered by ‘the movement’ with a rejection of the

proletariat and with the worship of the innovator – the creator, this sell out, this mystification,

this mythologisation, this anti-materialist basis and orientation, was in fact also evident in the

work of Isou’s best critic and the developer of the Lettrist metagraphy and hypergraphy into

situgraphy, Asger Jorn.
Jorn identifies the central problem of the religious question in Lettrism when writing ‘On The System

Of Isou’ but fails to answer the question. Elsewhere in his answer to Marx’s Capital,
The Critique of

Political Economy Jorn identifies the surplus value of the working class as the source of its revolt

against capital in what he termed as its propensity to take ‘risk’. This surplus value however, this

risk, was to be historically transformed in line with 4th factor of production – and the unification

or management of the other factors, namely labour, land and capital – as enterprise. In this way it

was just the same as the classical Lettrist movements privileging of the creator – the innovator –

the taker of risk, which today we identify in all sorts of ‘revolutionary’ projects undertaken by

nothing other than bourgeois enterprise. We therefore must return both Jorn and Isou to the

perspective of communism.
The only creator is the proletariat: that is the working class in revolt against their exploitation –

against capitalism. While the former positions of Lettrist
hypergraphy and situgraphy have lead to

shoring up labour aristocracies such as the ‘creative class’, ‘immaterial labour’ or even ‘risk

labour’, we will destroy any such divisions in the proletariat and herald its class perspective as

the only possible perspective for spontaneous orientation.
Our situlysis  must have a/infinite centres – i.e. ultimately acentric – origin or point of

perspective . This is the perspective of the proletariat. This begins with a single proletariat in a

state of al-wahdat (one point of coherence) and immediately starts to move to that of al-kathir

(diversity) as it collapses into the perspectives of other proletarians and the proletariat as a

The discovery of the systematic work of the Hurufis cuts Lettrism free from Isou. We are no longer

concerned with the system of Isou – scientific or not – but with the systematic tendencies of

Lettrism –
its eclipse and re-emergence in the New (or 3rd) Lettrist International.
The disoriented geometry of the situation, with is tri-mensional situlysis therefore requires a

different point for each measurement. The point of origin is therefore taken to be that of the worker

involved. In the first case of Lettrist hypergraphics this was indeed Isou. But immediately wahdat

tends to kathiral – coherence to collapse. The perspective of the worker expands to go from point of

view – i.e. the eyes of the individual –  to a line, surface and volume of the body. In measuring our

own space we find that we necessarily share this space with other workers. Creation is always and

already collaborative. But this is also true of perception and consumption. The work of the onlooker

or the speaker as well as the listener or the actor is the kathiral point of orientation but it

always depends on the other and indeed on
others – other spaces, times and values – ie it tends

towards kathiral and then of course to another wahdat.
The Mono-Trimensionality of 3D Psychopathic Geometry, the Ruling Classes and the Zero-Dimensionality

of Centrality

Ruling class culture around the world has homogenized around the worship of the Sun god – from before

the time of the Egyptians to date. This has been consolidated in the physical theories of nuclear

revolution and the creation of particle accelerators underground all over the world. The privileging

of the sense of sight, of light is exemplary in this – in the privileging of whiteness in lightness

as the manifestation of god – in the enlightenment and so-called age of reason. Therefore it is the

discipline of painting in visual arts that we concentrate our attack – as along with nuclear science

these contain real religious force for the bourgeoisie. The real
religion of the bourgeoisie is of

course a pagan cult synthesised from the polarity of a monotheistic God and the devil, exemplified by

the Freemasonic order. This is the same whether in Africa, Europe Asia or elsewhere. The Islamic

masons and assassins also incorporate ancient teaching into their more modern monotheistic

innovations to synthesise rituals of abuse which are then transmitted to the masses through coded and

ritualized means in a variety of ways from religious, social and cultural practices, theatre,

television internet and mass media as well as in the structures and institutions of health and

The point of origin of space for the ruling class however is seen as the origin of the source of

light – and its reading upon the human body through the eye/s, hence the Freemasonic symbol of the

eye within the triangle.
In recent years cracks in the establishment
have appeared in the face of the discoveries of quantum

physics, of black holes, dark matter and dark energy. The Royal Society have tried to shore up their

defenses of Newtonian theories of light and gravity in a variety of ways. They have found some more

successful and malleable than others. Their attempts to manipulate Steven Hawkings is worth

mentioning here – and his successful resistance through channeling the spirit of Galileo. They have

recently found Berners-Lee more malleable material.
Moving on, it is no coincidence that at the same time the G8 start to recolonise Africa and offer

plans for the eradication of poverty. They are in reality, plotting the eradication of the working

class ie those people who are ‘poor’. This is done through the synthesis of the ruling class of the

proletariat and the aristocracy in the body of the bourgeoisie. While religion and godhead was seen

represented through the aristocracy, through a supreme ruler or king, in the bourgeoisie this

process is internalised. Therefore the centrality of the bourgeois subject is superimposed over the

centrality of the sun. Hence the Light of the World comes to stand in for celestial bodies which spin

round in the bourgeois mind. The dome of the human head as a receptacle for light and of

consciousness therefore orients human consciousness as located in the mind – the 3rd eye or pineal

gland – the so-called seat of consciousness. This is the source of the division of mind and body –

humanity is reduced to the human mind. European culture exemplifies this by its world view in

locating Europe as centred and north, with USA to the left and Russia to the right. All the

neo-colonies are laid out below it just as the human body has become denigrated to so-called


The African,
Caribbean and Pacific/European Union Joint Parliamentary Assembly (ACP-EU) has grown out

of the trade agreements of the European Development Fund (EDF} established at the Treaty of Rome

(1957). It was organised in order to retain influence and economic domination over these colonies, as

the colonial power of European governments became weaker after the revolutionary drive towards

independence of colonies in the mid 20th century. The Yaoundé Convention of 1963 was a neo-colonial

convention which enshrined the new form of globalised colonialism. One of its noted innovations was

the recognition of national sovereignty to the ACP countries. Thus the notion of sovereignty is

extended from the European powers, as enshrined in Europe under the Peace of Westphalia in 1648, onto

the new neo-colonial states. This date is part of the peak period of the age of messianic divinity

and exemplifies the era of the
creation of capitalism as a global force.

As the age of divinity draws to its close, the form of the nation is thus also coming to an end. On

the June solstice of 2000, the Cotonou Agreement again brought colonial conditions back through the

establishment of the Joint Parliamentary Assembly which restores political as well as economic power

to a strengthened Europe.
This year, on the northern summer and southern winter solstice 2007, the ACP-EU Joint Parliamentary

Assembly met in The Kurhaus, Wiesbaden, Germany. Their discussion included what they have described

as the “urgent situation” in Sudan and Zimbabwe. There is clearly a racist agenda with EU

intervention in these areas. In Sudan the UN has been trying to frame a racial conflict between Arab

Africans and Black Africans. Similarly in Zimbabwe the conflict has been characterised as between

Black Africans and White Africans.

The combination of politics and aesthetics in the so-called secular society of the so-called west

therefore provides an important nexus for the bourgeoisie. Post independence, immigrants from the

ex-colonies into the western European colonizer states were all generally refered to as ‘black’ while

‘white’ was a term that was exclusive of jews, slavs, celts and all those generally outside the

anglo-saxon axis. This was very important for the formation of the so-called ‘new world’ colonies.

The manipulation of these terms for example in South Africa predates the advent of fascism. The

advent of the new right in recent years has seen a strengthened Europe under the EU and Euro- which

has relied on a modern aesthetic where white is the new black, red the new blue. This disorientation

is in fact the result of the supercession of aesthetics or art by politics or science. What we will

show is that
proletarian perspective is not the privelidging of one or other category but the

abolition of these categories altogether and their overthwrow by a proletarian wahdat through


This is opposed to the polarity which collapses into categories which control people in a viciously

dehumanising way and the most well known example is in South Africa with the categories of white,

black, mixed, asian being employed to divide and rule the proletariat. It is essentially that these

categories are rigidly imposed by the rulers that they receive their force. They are also mixed in

terms of aesthetic (colour), genetic (mixed) and geographic. In doing so they create a

psychogeographical space which disorients and t®aps the proletariat within a forcefield or

constructed situation which manipulates their behaviour.
Racism and nationalism are intimately related but clearly not identical. They are both parts of

same semantic space which derives from the pre-capitalist feudal system of the aristocratic ruling

classes and the kathiral or sovereign perspective. This is based upon the family as the organising

word – ie the name. It is therefore as useless as proletarian enterprise to seek a pure or authentic

or proletarian nationalism, racism or family. The issue is removing the power of definition and

control from the ruling classes and empowering the workers as we/they rise up against the capitalism

system that exploits and dehumanises them and us.


The perspective of the ACP or other inter-govermental talks, based as they are on the Westphilian

system of statehood, are not just top down as opposed to bottom up, they are constructed exclusively

from the perspective of alienated authority of the European ruling class. The same is true of the

so-called ‘revolutionary movement’ which
confines itself in Western Europe also. In January the UK

Social Centres Network met at the 1-in12 in Bradford. In a report to a so-called Quarterly Anarchist

Journal of Theory and Action from the British Capital After the Empire – although they fail to

mention how London can still be the British capital if the British Emprie is indeed in the past - an

Anarcho-Racist  writes: “Social centres were asked how many people were involved in there collective,

how many events are organised per month on average, how many visitors they get... between the fifteen

spaces, there are around 350-400 people involved in social centres around the country - organising

around 250 events per month and gaining the presence of 4,000 to 6,000 people. Not bad for a

political minority! By making this data visible and presenting it back to those of us involved in

such projects the aim is to expand the knowledge of what we
do, and with whom.” The sovereign

perspective of the writer reduces the ‘participants’ into data to be controlled as commodities.

Nowhere is there any discussion of what these people may think or want to do.
It is the perspective of the ruling class that seeks to define the world in terms of commodities. The

perspective of Capital simultaneously denies the perspective of labour – ie the power of the

proletariat – and land – the traditional power base of the aristocracy. The revolution of the

European bourgeoisie suppressed and realised the power of the aristocracy and therefore synthesised

the perspective of land into that of capital. What the shift from formal to real domination of

capital seeks to do through such diverse bodies as the ACP-EU and the ‘Social Centres Network’ is

supress and realise the perspective of labour into that of capital too. This is done through the

perspective of
bourgeoise enterprise. It should not need stating that there can be no prospect of

proletarian enterprise. The perspective of the proletariat can only be realised through the

empowerment of the perspective of labour as a factor of production which competes with capital and

land for material power under the system of capitalism and capitalist production as propogated by the

power of the entrepeneur. National sovereignty is in fact empowerment of the land, capital and

enterprise . The empowerment of labour - the only prospect of empowerment of the human being against

capitalism is another matter altogether.


the alienation of our labour is a spatial temporal and semantic restriction - and reduction of man

into woman - as woman is always and already just a commodity - only men can have property. but even

outside of this semantic reality within the confines of the spatial entity of E or Aurope,
is the

alien -or even within that space we can find the ‘resident’ or ‘ilegal’ alien - the black man - black

matter and energy as female - to be fucked (or should i say ‘loved’) by a ‘enlightened’ europe. Both

black and white identity is a result of the formation of colonial and post-colonial borders and are

part of clear expression of psychopathic geometry.
Any debate about arming the police is redundant at the borders where for example we can see police

armed at Heathrow airport (and all airports perfectly show the hyperspace of the border of the states

and nations which engender industrial capitalism). Europe as a hyper/psychogeographical/space that is

defined by the limits of the ‘European world’ , therefore it is defined by, for example, the fact

that the former Neu-Mecklenburg and Neupommem (now known as New Britain and New Ireland) are part of

Papua New Guinea –  which with for example
the West Papuan and Bouganville struggles going on with in

its borders, like every single ex colony nation in the world is being torn apart by revolutionary,

counter-revolutionary action as well as bouregoise forces stacked up against the people.
A border has dimensions in space, time and meaning. Spatially we can see borders as a 2 dimensional

line which tries to therefore constrain multidimensional space. Its retardation is evident in the 3rd

dimensional deficit whereby nations imagine their borders extend infinitely into outer space and

infinitely down into the earth.
The points in space are checkpoints that line the border and the surface is that of the country.
In time we can see the point of independence or occupation as the begining of a border and a possible

end point in revolution. The temporal line is thus defined. The temporal dimensions of origin and

magnitude are therefore extensions into time at
those points and are defined by the aristocratic time

period which predates the modern capitalist state. In the case of England that is Briton. The

temporal border of Britain thus demarkates England between Briton and Britannia, the conquered and

the conquerer. which brings us to the dimensions of meaning.
The border is a line - it is in negative dimensions of meaning. It is only through the surface of

country or volume of nation that it aquires meaning. If we look at the 0th (nunth) dimensional point

of the checkpoint this is somewhat clearer.
The checkpoint constitutes the event of capture. of inquisition. it form a line and surface with the

history of a conflict typified by imperialist warfare. the event that happens there is identification

and meaning is situated by the flag - the letter of the nation. In the case of England this is the

red cross. It is also the letter ‘E’. The event that constitutes
the temporal origin is the

Anglo-Saxon invasion - ie England is in fact Angland. There is no mistake in the correlation of the

cross and the semantic relationship with Angles. The letter E is sometimes morphologically identical

to the letter A. In this way the EU is the same as the AU. The letter (0 dimensions), the name (1

dimension), the constitution (2 dimensions) of a nation are thus the different sides of the entity

defined by borders.
The checkpoint will demand a similar measurement of human beings - in spacial, temporal and semantic

dimensions. Identity is what is checked, through papers. This identity has race and class as its

It is alienation that the psychopathic process builds on. Alienation is the quantitive and qualitive

restriction of a person from their labour, from their home and from the world around them.

Recently the defeat of class war has meant the
victory of the warrior class. The use of arms and of

war, of course, predates capitalism and will certainly outlive this pathetic and mean form of

production. The control of arms of course must be in the hands of the workers. This includes the

producers as well as the users – the consumers of the means of killing. The process is married to the

creation and maintenance of the nation state and to the production of death – ie the enforced borders

of everyday life through human activity. The chain of production in military weaponry is perhaps one

of the most extensive and comprehensive chains of human production known, from the mineral mines of

the ACP countries to the data mines of the EU universities, the empowerment of workers happens at a

vastly unequal and stratified terrain.
Communism firstly guarantees the restoration of the individual property of the worker – ie her

labour. Secondly it
guarantees the abolition of private property. The contradiction is clear and it

has proved to be a bloody business. War is fought openly and in hidden ways. The occult assassins of

the secret sevices the world over have in the recent so-called war on terror and beyond, taken to

creating heart attacks in politicians. The political process is a simulcrum and a screen that

projects reflects and distorts human fantaasies and realities daily. And it's deadly. Politicians,

scientists, artists as well as proletariat are subject to occult assasinations and the threat thereof

on a daily basis. This is evidenced in the recent bout of deaths of politicians by heart attacks, in

the death of pakistani generals, in the death of british cabinet ministers afeter the declaration of

war on iraq, etc etc. These deaths by so-called natural causes – just like the so-called natural

causes of tsunamis or drought or
earthquakes or floods are not natural at all. They are the

manifestation of the deadly will of the ruling class – the victim invariably being the workers – the


As the age of divinity has drawn to a close, land disputes have flared up over the ex-colonies – land

disputes which the ruling class suppresses by reference to borders and psychopathic geometry.

However, returning to pre-colonial borders is simply a return to renewed oppression. Geneologies

manifest families which are the feudal form of organising. Names are the remnants of this and the

loyalties and ownership denoted by the name return to aristocratic forms or alienation and oppression

of proletarian perspectives.
Language, land, life and the means of creation, under capitalism are equal to the means of destroying


The ownership of arms along with all commodities - must be restored to the
workers who produced them.

The soldiers and police forces of the bourgeois states and so-called revolutionary armies alike must

look to the leadership of all workers involved. This process is the necessary  grounding of the

ground and the so-called grass-roots and indeed the environmental battleground. The ownership of

labour predates the ownership of land and land as the primary factor of production- ie the alienation

of land and the creation of capital are all based in the alienation of labour.
The spectacle is indeed the name given to the crushing of multi-trimensional situations into a

projection onto a 2D screen. Attempts to go beyond the surface are forcefully curtailed by the

corporeal congealing at the 3rd dimension ie this surface has its duration as a dimension of time and

is therefore 3 dimensional (1 or uni-trimensional). What we will now examine is how the situation

through cutting down of dimensions of corporeality and creating trimensional force fields,

will create conflict ie uncontrolled release of energy, rather than individuals who at any rate do

not exist when we go beyond the 3 dimensional or trimensional corporeality.

Resisting the 4D Forcefield: Debunking the 4 Dimensional Myths of Art and Science of Time as a 4th

Dimension of Space with the Possibilities of Pentagonal Perspectives of the Proletariat.


The destruction of the sovereign orientation and perspective of the ruling class – of psychopathic

geometry – rests therefore upon the unleashing of a proletarian perspective .


Prior to the emergence of Lettrism in Paris, Walter Benjamin wrote The Work of Art in the Age of

Mechanical Reproduction (1936). Here he writes of the loss of the ‘aura’. This aura is in fact the

force field created by the work of arts
de-dimensionalisation. In shutting of dimensions of

projection, the bourgeoisie create fields of power, which we will look at in more detail later.


When works of art started to be printed in magazines and journals – especially in the samizdat

movements which lead to the innovations of German Dada as it came into conflict with the Nazis, these

works became free of the art gallery context –  ie they became mobile and moving in space.

Simultaneously the spectator became mobile in viewing them. This is not the first step of the

creation of a new perspective and new geometry – this movement is going on even within the gallery

structure. However, the innovation and engagement into open partisan psychic warfare is the

development worth noting at this time. Lettrist hypergraphics create new relationships with space by

opening up the semantic dimensions, in using the semantic unit or
point of the letter as a moving

object in space and time. Therefore while the configuration of the graphic is fixed, its reception is


Much of the effect of the lettrist innovations is due to the unleashing of the proletarian

perspectives of everyday production of the working class into the bourgeois field of art and science.

This also involves reveiling the secret and occult techniques of the ancient ruling classes, whether

consciously or otherwise.

We have looked already at how the aristocratic perspective is based upon the eye of the ruler rather

than the beholder or creator which is bourgeois. The creation of money is exemplary in manifesting

this psychopathic geometry and it should be noted here that money is the invention of the feudal

system. The defining feature of money is of course the head of the ruler in profile. This gives us a

single eye looking
forward. The proliferation of these symbols which are in effect letters an in

particular their use to measure any and everything is the source of the monarch’s power. The fact

that the British queens head still features on the coinage in many commonwealth countries shows her

real psychic power. The replacement of the monarchs head wth other symbols and letters shows us how

the power of the bourgeoisie is thus perfected through importalised psychopathic perspective.    

The theorization of Ultra-Lettrist hypergraphics of Grammes as decollage, because of its use of the

work of different people times and places coming together in one space, mixes technical forms. That

of bringing ideas together, that of moving physical spaces together and that of bringing in elements

from beyond the time span of the creation of the work – ie between temporal, spatial and semantic

spaces. The
assault on the fixed or centred semantic space of a painting was for example predated by

Picasso’s use of the Futurist newspaper in Pipe, Glass, Bottle de Vieux Marc (1914, Paris) which

featured the title lettering of the Futurist newspaper Lacerba. ‘Cubism’ is in fact an early form of

hypergraphy and already the incorporation of time into spatial considerations in painting, using as

it does, 2 dimensions of space with 1 of time. The last school to limit itself to spatial dimensions

was (social) Realism which is the use of 3 spatial dimensions and 0 temporal dimensions. The

so-called 4 dimensional paintings are in fact just so-called ‘cubist’ paintings, e.g. Duchamp’s Nude

Descending A Staircase (1912), which shows a 2 dimensional figure through 1 dimension of time – ie

the duration of time from the top to the bottom of the flight of steps. What Lettrist hypergraphics

does is introduce other
perspectives through the introduction of pictures within pictures. Of note

here is the use of this conceit in partisan psychic warfare by the Futurists.

The concept of painting 4 dimensions was a staple of avant-garde art of the time, with its routes in

the expansion of cubism, through suprematism, expressionism, futurism as well as the work of the

painters Max Weber, Frances Picabia, Marcel Duchamp and others working simultaneously at the fringes

and core of Dada/Surrealism. It is evident that the romanticisation and academic colonisation of

those movements is the failure of the revolutionary praxis. That the idea of 4th dimension in

painting was readily taken up by the Futurists via Umberto Boccioni’s theories and manifestos of

Plastic Dynamism, is a particular case in point. In this, Boccioni takes up Kandinsky’s polarisation

between ‘intellect’ and ‘intuition’, first expounded through occult
treatises such as Point and Line

to Plane (1926). While intellect is denounced as bourgeois, intuition is used as a mystical device by

which to shut down conscious thought and aid remote control manipulation through codes and symbols.

Despite the fact that these painters were all suppressed by the Nazional Socialists of Germany as

‘degenerate’, history shows that it was this insidious idea that was to provide an essential form for

the maturation of fascism in Italy.

So-called non-objective or abstract expressionist art via Kandinsky, as Asger Jorn notes is aligned

to Euclidean geometry. This is why it was perfect for the CIA whose own psychopathic geometry centred

European culture in New York to create a double perspective for NATO. Their success was partly to do

with the failure of the 1st and 2nd Situationist Internationals to consolidate activities. The

struggle between
abstraction as sponsored by the Gugenheims and US bourgeoisie and anti-abstraction

as Asger Jorn refered to the situgraphers of the 2nd International was inevitable lost by the

anti-abstractionists. The support of the communists to Social Realism also must be mentioned here.

The roots of this entanglement and eventual loss of coherence can be traced to surrealism but we will

trace it forward the the stockists and conceptualists.

The recent article by the artist Asim Butt in the Dawn newspaper entitled Dada is Dead exemplifies

the confusion surrounding the issue. In Pakistan Dada refers perhaps more to the Communist

proletarian Dada Amir Haedri who recently died. However Butt is referring to the European art

movement which is more likely to be being born dead than dying in Pakistan. Dada as an anti-war

movement of artists in the early 1900s in Western Europe could perhaps provide vbaluable lessons to

proletarian artists fighting a military dictatorship – perhaps not. Either way, the polarity that is

presented between dada and conceptual art belies the real struggle going on in art and indeed what is

useful in the work of the Stuckists. The influence of Dada anti-abstractionists of a wide base from

Arp, Ernst, Duchamp to Heartfield can easily be seen on the Stuckists, As can the influence of

hpergraphics incorporated text and letters as they do onto the surface of the canvas. The fact that

the Stuckists continue to concentrate on paining while Sachi & this pals gravitate towards conceptual

works shows nothing other than class struggle – ie that the works of Van Gogh and Picasso are far

more valuable to the bourgeoisie than conceptual art is or probobally ever can or will be. We must

still advise them that the sovereign perspective of the indvual artist can only trap them within

their own
canvases. A proletrain perspective requires an explicit dialogue with the other workers who

have created their canvases – the workers who have created their paints and their brushes, their

subjects and their objects. This is tantamount to the cultural victory of Aboriginal painting over

Abstract and anti-objective painting. Here the psychopathic geometry is inversed – the powerless are

redimensionalised in a dot – the symbolic lettrism of the anti-abstract force of so-called aboriginal

painting as high art is only made high art through the negation of the shamanic activity of making

the paint and the materials by the same ‘artist’ who executes the painting.

Hypergraphical experiments make it clear that 3 dimensions (1 trimension) require another layer of

interpretation. The tactic of the proto-fascists of Vorticism was to compress many dimensions worth

of information into this one extra
conceptual dimension. In this way they could make statements at a

sub-conscious or subliminal level without having to engage in defending their political positions.

However the 4th dimensional viewpoint/ forcefield, whether as an 'intuitive' dimension or as a

spatialised dimension of time (intellect), only served to shut down consciousness, precisely at the

point when capitalism itself was under threat during the first world war. The intellect was dismissed

as bourgeois - rooted in the the mechanical universe so beautiful elucidated by Baron Kelvin.

Intuition then became fetishised as a mystical device which rapidly turns in on itself, becoming an

essential aid to remote control manipulation through codes and symbols, reaching its apogee as a

sequence of 0's and 1's.


We must make clear that the realm of graphics that has so far languished under the rubric of the

visual arts is in
fact the application and control of light as it is experienced by humanity.

Uncritical reception depends upon the shutting down of other sensations such as hearing(sound) and

feeling (touch) – ie these dimensions are further shut down. This leads us to 2 observations:
?    Firstly, that the ususal spatial dimension is not just a demi-dimension or a third of a

dimension, but given the extension of sensation through 6 faculties, it is a 54th of a dimension.
?    Secondly, the shutting down and opening up of di- or tri-mensions (and the movement of human

beings – and indeed anything – through dimensional or trimensional space) creates force or energy

fields which affect bodies through those trimensional fields.

The 3 Dimensions or 1 Trimension of Value
        The Letter (la lettre)
        The Word (le
        The subject/theme (le sujet)
        The Volume (of text)

Metagraphy or post writing, writing about writing, similarly ends the containment of writing within

the poles of perspective of the author and reader, by introducing other points of origin, magnitude

and extension into the text.
This was replaced eventually by Debord’s situations as detournment. In detournment, the title of a

piece is of special importance. However, the significance of the title as the 3rd semantic dimension

is overlooked. The moving of this to another piece extends this semantic space depending on where,

when and how the viewer comes across it.
Just as in hypergraphy, each layer works up to 3 dimensions before becoming saturated and calling for

a new layer of interpretation, so metagraphy does the same with semantic dimensions.
Metagraphy and
détournement as a discipline has also been continued in the 80s  plagiarism movement

and the festivals of plagiarism. Neoists and psychogeographers using multiple names take this one

step further by resisting with the commodification of themselves as cultural workers. Therefore the

acentric perspective of the multiple user name as the 3rd semantic dimension has continued.
It is worth recapping here that Lettrist metagraphics trace the letter as the 0th dimension, the

allegorical motif is the 1st dimension of meaning or semantic space of language ie any word or space

or line with limits of 2 letters, 1 on either end, constitutes a domain which is not rooted in a

semantic space or territory of meaning until it connects with the 0th dimension via the letter and

the 2nd dimension via the surface of the text – which in turn has a looser field of energy until

linked to the 3 dimensions of the body,
text, book or volume.  Détournement  was the name the

situationists gave to the praxis of 2 dimensional semantic metagraphy that synthesises from the

ultralettrist development of decollage and hypergraphics in the semantic rather than spatial fields.

The richest part of detournement was always therefore to be found in plagiarism – a view only really

taken up by the Neoists and organisers of festivals of plagiarism – because the site of conflict with

detournement is not spatial as it is in hypergraphics which is a study of light and the physical

shape of the text, but semantic – a study of thought – ie the ownership or identity – the meaning -

of the text.
Orientations within or through spatial or temporal dimensions lack any meaning without orientation in

a semantic or value space. This is the domain of letters which are used to map value. While the

Hurufis used the Persian
alphabet, the Lettrists hypergraphy started to develop new letters freed of

Latin script. Debord's return to the use of the French language in metagraphy can therefore on one

hand be seen as a form of Anarcho-racism but on the other hand it can be seen as a focus on semantic

or value space rather than becoming derailed into the religious questions in spatial considerations.


The Second and Third Dimensions of Time

    The Event
    The Duration
    The Origin
    The Magnitude
Marx’s critique of political economoy analysis of the commodity put forward the following chain which

looks at the transformation of commodity into money and then back into commodity:
C – M –C
Jorn’s critique of political economy adds the Natural Form and Use Form to give the measure of value:
N –  U – C – M – C - U – N
We can get a
picture of the commodity. But the time of capital and the commodity is gone. Wot we are

now concerned with is the trimensional situlysis: the transformative morphology of the unique:

N – U - N

This is a strictly temporal-semantic trimensional situlysis: the use object is destroyed in its use

but the commodity is not destroyed when it is transformed into money – it simply changes hands – its

spatial location.
The use or commodity object have their duration, which is limited by its use. Therefore the creation

and destruction of the commodity mark its temporal duration (1st dimension). The duration of its

creation are the 2nd dimension and the duration of its destruction – ie its return to ‘natural’

matter’ is its 3rd dimension. This then brings all process of creation and destruction – of commodity

and use – to that of the natural form and begs definition of such
Natural form is in fact aristocratic value. Marx identifies three time periods in the development of

humanity, each extending from the other – that of the aristocracy, the bourgeoisie and the

proletariat to come.
Fazlullah Huruf before him postulated the Age of the Prophets from Adam to Mohammed, followed by the

Age of Saints which he brings to a close. After him is the Age of Divinity. As stated at the start,

Isou has closed that age and we have declared this as the Age of the Proletariat. In doing so we have

left the triangulation of the monotheistic cults of Judaism, Christianity and Islam – whether by  the

Modern Khemetic Calendar, the Mayan Calendar etc.
Each of these ages has its length (duration). The event itself marks the point of change of

Age of Primitive Communism
    Age of Slavery – Age of Feudalism

    The Age of
the Prophets ? – 500AD
(Adam – Moses – Jesus – Merlin – Mohammed)     
        The Age of the Saints (500-1300)
(Ali – Fazlallah )     
    Age of Industrial Capitalism        
        The Age of Divinity (1300 - 1900)
(Dante – Zevi – Isou)    
The Age of the Proletariat

We discussed earlier how the creation of capitalism markes the mid point of the age of divinity and

its deterioration or culmination of its chiseling phase is marked by the death of Isou. This brings

us into commnoist time – ie the surpecession of the primitive and advanced: The MKC reconnects with

the time before the Jewish calendar. By connecting with the Mayan calendar which will come to an end

in 2012 , we can fold time back so that we can travel anywhere inside the 3 dimensional time as

delimited by our new calendar.



The life time of Isou (duration) is 1 dimension, marked by the 0 dimensional points of birth and

death. But Isou himself was created. This origin is the 2nd dimension of his time. His magnitude –

those who come after in and in his name are the 3rd dimension of his time. It was by reducing him to

an event – to 0 dimensions of time – for eternity - that the Lettrist movement tried to immortalize

him. By returning his corporeality we can see what still lives in him.

To avoid the trap iof the psychopathic sovereign geometry of the ruling class which is illustrated in

the diagram below by Stephen Hawkings, we must rely on a proletraina geometry and refer to the work

of other lettrists and place him into the context of other workers.


The myth of the end of the world is
of course nothing new and so we should refer here to Sabbatai

Zevi and the Prophet Evans who both declared themselves as the Messiah in 1648, the peak of the Age

of Divinity. Temporal borders mark situations as much as spatial and semantic or behavioral/value

borders such as tabu and of course both Sabbatai and Evans broke tabu as in order to break through

the force fields of the ruling classes – just as Hawkings did in the 1980s, resulting in the attempt

on his life at CERN.
Situational Force Fields and the 3D (1T) Forcefields of the Ruling Classes
Hypergraphics as a layering of images, going from 1 (or a third of a trimension) to 3 (or 1

trimensional) dimension/s and then layering 3(or 1 trimensional) dimensionsal layer/s over. It also

worked by mobilizing the point of origin of perspective. Bourgeoise art on the other hand, relies on

reducing the dimensions by limiting them to 3 or
to 1 trimension and also by limiting the point of

observation.  It does this by negative dimensions – by forcefully constricting movement or

development on the page or around it. This negartive space, time or value will automatically cause a

vacuum which will necessitate action on the same plane – in a different space, time or value.

The saturation of 3D or 1T on a 2D surface-  ie the illusion of prodimensionality was what gave

Realist painting its force and it is no coincidence that the realist classic painting ‘The Origin of

the World’ is the most overtly pornographic paintings in the history of European painting. This

painting – and the key to the power of Realism and to the later Social Realism and even

Anarcho-Realism – is their value or semantic space that they create or delineate in relation to the

real people who create it. While Les Demoiselles D’Avignon introduced African conceptions
of beauty,

The Origin of the World was painted for an African man who commissioned it.
Contrary to the slogan ‘pornography is the theory, rape is the practce’, it is masturbation which is

the practice of pornography and it is a gross over simplification to equate masturbation with rape

under the rubric of ‘abuse’. The bourgeoisie in seeking the absolution of commodity relations want to

abolish the concept of rape by abolishing the concept of concent – ie the active perspective and

expression or value/s of the worker – and replace it with a monetary value. Both masturbation and

pornography are dedimensional and both do eventually tend towards rape, which is an expression of

psychopathic geometry – ie the absolute dedimensionalisation of humanity and a human being to one

point – in this case a penetrated orifice of the victim and the point of orgasm for the perpetrator.
It is a banality to state as ‘I’ or
‘we’ must, that all sex tends towards masturbation and all

masturbation tends towards sex – ie while porn and masturbation require dedimensionalisation which

tends towards rape, sex requires a opening up of new dimensions – it is poly and prodimensional and

therefore is based upon the uncovering of new dimensions and points of perspective.

For us then all letters are pornographic and this dedimensionalism reaches its psychopathic

conclusion in 0s and 1s which reduce love to a penetrative function. All language is sexual and its

power is in creating forcefields which manipulate and shape behavior between the poles of birth and

death through the construction of an individual point of view based on the visual organ – I. It is

areas in this space that is locked and unlocked through an alphabet of bodily positions which are

learnt and performed by military inteliigence occultists in both the arts of
seduction and torture.
The temporal and indeed semantic point of origin ie the proletarian orientation of the creator the

alienated owner of the labour must be the vagina of the mother and it is thus a banality also to

state that our relationships with our parents are always and already sexual.
We are already moving away here from the patriarchal ruling class perspective of naming a child after

the father’s family and we need to push this perspective of labour so that it comes to dominate land

as well as capital ownership. The word Proletariat means those whose only property is their sons but

for us the proletariat must first own itself and then own its production which is everything.
The colonies that gained so-called independence, either the ACP, Middle East, Asia or in America have

all seen struggle for land between workers and their so-called independent governments. The racial

question and polarity
between black and white – colour being a wahdat or monodimensionality – has

served to obscure the fact that the families or aristocratic ruling class forms have underpinned the

domination of capital over the workers. This is why in Africa the colony of Soutrh Africa was

European dominated – ie European families still had relations in Europe and the individuals had their

positioning in a genetic geometry based in Europe. Similarly in Australia the genetic geometry which

linked convicts to Europe lasted way after the death of the individuals involved. Just like slaves

before them and refugees today – people are not bound by nationality or passport – or even family,

genetics or blood. A proletarian perspective takes in origin in space, time and value (identity) but

also movement throughout these fields. It takes in the collaborative production of every worker we

share production and consumption with but
must always begin in the current space time and value.
A return to land property ownership – be it customary, tribal or traditional – all returns to

previous ruling class structures – ie of old families – eg in genealogies - rather than new

proletarian associations based on proletarian perspectives which are international and open in

temporal dimensions.
However the perspective of the eye in the triangle is not countered simply by the eye in the heart.

Their conjunction in the star of David is complemented by other star systems eg NATO or even the

double cross of the UK. It is only through the continuous introduction of new perspectives that we

can break out of the forcefields of power ie we can neither defer our struggle to another or struggle

for any other ourselves. Revolutionary redimensioalisation is the entanglement of all our struggles.
Apart form pornography we’ve also had a ‘look’ at how the
forcefield of futurist painting creates

illusory space for mind control and semantic entrapment rather than navigation while how that of

lettrist hypergraphics empowers the viewer in their environment for a new navigation – we can see

this in other art forms.
The Lettrists attacked photography and realism not just through hypergraphs but also through  cinema.

Cinema without images is the removal of the temporal dimension of duration from the image, or put

another way, the reduction of the 3 spacial dimensions to 2 ( a surface of black or white or indeed

lines and points on the plane – with the addition of the temporal duration of the image. Lettrist

cinema was a critique of cinema as photography – by dislocating sound and image, the dimension of

sound is released from submission to vision. The dimension of sound as separate is thus opened up.

The associated semantic dimension is
The painting or cinema as photograph supposedly offers 3 spatial dimensions on 2 – this creates the

force field which Benjamin referred to as it ‘aura’, ie a trimensional forcefield which is formed as

long as the viewer’s other dimensional aspects such as touch taste etc are shut off. However, in

giving a title – we have a single semantic dimension on top, while the temporal dimension is 0 – an

event frozen in time. Cinema itself, being the temporal succession of frozen still images does

nothing more. Movement is an illusion – the effect of the energy field on the semantic space. It

calls for a movement in value or semantic space if not in physical or temporal space.
Lettrist cinema therefore collapses the energy in one domain to unleash it into another or other

dimensions. Integral  to Lettrist cinema is provocations in the audience. The lettrist intervention

of the
workers perspective. Hence new points of origin and projection are introduced. The 2

dimensional screen opens into a 3 dimensional (trimensional) stage of performance. Recent researches

have looked into this forcefield and the creation n of reactions which are necessitated by the

situgraphic effect.
Ultra-lettrist hyopergraphics did much the same in adding torn posters into their graphics. Again a

point in remembered space is introduced into the 1 semantic dimension. When Benjamin states that

mechanical reproduction has destroyed the aura – it is the energy field created by the trimensional

restriction of realism. This energy is not lost – and it is not merely displaced. It is capable of

being amplified by Lettrism.

How that force is held in fields of force depends upon how it is displaced into expansions of

dimensions and contained by shutting them down – ie the dialectical movement
between al-wahd and

al-kathir =  through 6 further sets of 9 dimensions.

Exegesis of the 6 Fold Path to Corporeality:
Breaking Out of the Spectacular Force Field
If European culture has so far limited itself to the organization of light, thus limiting itself to a

spectacle and permanent removal of life to behind a lens – and this includes the separation of people

from each other and themselves, we must unfold the suppressed and oppressed disciplines related to

the study of the real world.

To start we must separate the graph from the photo – as exemplified by Lettrist poetry, painting and

cinema. But we must go further.

We must note here that our trajectory along a 6 fold path to corporeality flies in the face of the

following from the introduction to Euclidean geometry by the man J-D. Published at the peak of the

Age of Divinity it outlines at first the polarity
of points of origin and projection and then the

situational force field limits of the capitalist value space - which we explode.

Here haue you (according to my promisse) the Groundplat of
my MATHEMATICALL Præface: annexed to Euclide (now first)
published in our Englishe tounge. An. 1570. Febr. 3.
                  Simple, Which dealeth with Numbers onely: and demon¬strateth all their

properties and apper¬tenances: where, an Vnit, is Indiui¬sible.                In thinges

Super-naturall, æternall, & Diuine: By Appli¬cation, Ascending.      
        Arithmetike.    Mixt, Which with aide of Geometrie principall, demon¬strateth some

Arith¬meticall Conclusion, or Purpose.          The vse
is either,        The like Vses and Appli-cations are, (though in a degree lower) in

the Artes Mathe-maticall Deriuatiue.
    Principall, which are two, onely,    
                 In thinges Mathe-maticall: without farther Appli¬cation.    
Sciences, and Artes Mathe-maticall, are, either        
     Simple, Which dealeth with Magni¬tudes, onely: and demon¬strateth all their properties,

passions, and apper¬tenances: whose Point, is Indiui¬sible.                
     Geometrie.                In thinges Naturall: both Substã¬tiall, &

Accidentall, Visible, & Inuisible. &c. By
Appli-cation: Descending.    
                Mixt, Which with aide of Arith¬metike principall, demon¬strateth some

Geometricall purpose, as EVCLIDES ELEMENTES.                      
                Arith-metike, vulgar: which consi¬dereth    Arith¬metike of most vsuall

whole numbers: And of Fractions to them apper¬taining.
Arith¬metike of Propor¬tions.
Arith¬metike Circular.
Arith¬metike of Radicall Nubers: Simple, Compound, Mixt: And of their Fractions.
Arith¬metike of Cossike Nubers: with their Fractions: And the great Arte of Algiebar.
        The names of the Princi-palls: as,          At hand    All Lengthes.—
All Plaines: As, Land,
Borde, Glasse, &c.
All Solids: As, Timber, Stone, Vessels, &c.    Mecometrie.
    Deriuatiue frõ the Princi¬palls: of which, some haue          Geometrie, vulgar: which

teacheth Measuring          How farre, from the Measurer, any thing is: of him sene, on Land or

Water: called Apomecometrie.                Geodesie: more cunningly to Measure and Suruey

Landes, Woods, Waters. &c.
                      With distãce from the thing Measured, as,    How high or deepe,

from the leuell of the Measurers standing, any thing is: Seene of hym, on Land or Water: called

Hypso-metrie.          Of which are growen the
Feates & Artes of    Geographie.
                        How broad, a thing is, which is in the Measurers view: so it

be situated on Land or Water: called Plato¬metrie.                Strat¬arith¬metrie.
     Perspectiue,    Which demon¬strateth the maners and properties of all Radia-tions: Directe,

Broken, and Reflected.
              Astro¬nomie,    Which demon¬strateth the Distances, Magni¬tudes, and all

Naturall motions, Apparences, and Passions, proper to the Planets and fixed Starres: for any time,

past, present, and to come: in respecte of a certaine Horizon, or
without respecte of any Horizon.
            Musike,    Which demon¬strateth by reason, and teacheth by sense, perfectly to

iudge and order the diuer¬sitie of Soundes, hie or low.
            Cosmo¬graphie,    Which, wholy and perfectly maketh description of the

Heauenlym and also Elementall part of the World: and of these partes, maketh homologall appli¬cation,

and mutuall collation necessary.
            Astro¬logie,    Which reasonably demon¬strateth the opera¬tions and effectes

of the naturall beames of light, and secrete Influence of the Planets, and fixed Starres, in euery

Element and Elementall body: at all times, in any Horizon assigned.
            Statike,    Which
demon¬strateth the causes of heauines and lightnes of

all thinges: and of the motions and properties to heauines and lightnes belonging.
            Anthropographie,    Which describeth the Nuber, Measure, Waight, Figure,

Situation, and colour of euery diuers thing contained in the perfecte body of MAN: and geueth

certaine knowledge of the Figure, Symmetrie, Waight, Charac¬terization, & due Locall motion of any

percell of the said body assigned: and of numbers to the said percell apper¬taining.
        Propre names
as,    Trochilike,    Which demon¬strateth the properties of all Circular motions: Simple and

              Helico¬sophie,    Which demon¬strateth the designing of all Spirall lines: in

Plaine, on Cylinder,
Cone, Sphære, Conoïd, and Sphæroid: and their properties.
            Pneuma¬tithmie,    Which demon¬strateth by close hollow Geometricall figures

(Regular and Irregular) the straunge properties (in motion or stay) of the Water, Ayre, Smoke, and

Fire, in their Conti-nuitie, and as they are ioyned to the Elementes next them.
                Menadrie,    Which demon¬strateth, how, aboue Natures Vertue, and power

simple: Vertue and force, may be multi¬plied: and so to directe, to lift, to pull to, and to put or

cast fro, any multi-plied, or simple deter¬mined Vertue, Waight, or Force: naturally, not, so,

direc¬tible, or moueable.
            Hypogeiodie,    Which demon¬strateth, how, vnder the Sphæricall Super¬ficies

of the Earth, at
any depth, to any perpen¬dicular line assigned (whose distance from the

perpen¬dicular of the entrance: and the Azimuth likewise, in respecte of the sayd entrance, is

knowen) certaine way, may be prescribed and gone, &c.
            Hydra¬gogie,    Which demon¬strateth the possible leading of water by Natures

law, and by artificiall helpe, from any head (being Spring, standing, or running water) to any other

place assigned.
            Horometrie,    Which demon¬strateth, how, at all times appointed, the

precise, vsuall denomi¬nation of time, may be knowen, for any place assigned.
            Zographie,    Which demon¬strateth and teacheth, how, the Inter¬section of

all visuall Pyramids, made by any plaine assigned (the Center,
distance, and lightes being

deter¬mined) may be, by lines, and proper colours repre¬sented.
            Archi¬tecture,    Which is a Science garnished with many doctrines, and diuers

Instructions: by whose iudgement, all workes by other workmen finished, are iudged.
            Nauigation,    Which demon¬strateth, how, by the Shortest good way, by the

aptest direction, and in the shortest time: a suffi¬cient Shippe, betwene any two places (in passage

nauigable) assigned, may be conducted: and in all stormes and naturall distur¬bances chauncing, how

to vse the best possible meanes, to recouer the place first assigned.
            Thaumaturgike,    Which geueth certaine order to make straunge workes, of the

sense to be perceiued: and of men
greatly to be wondred at.
              Arche¬mastrie,    Which teacheth to bring to actuall experience sensible, all

worthy conclu¬sions, by all the Artes Mathe¬maticall purposed: and by true Naturall philo¬sophie,

concluded: And both addeth to them a farder Scope, in the termes of the same Artes: and also, by his

proper Method, and in peculiar termes, procedeth, with helpe of the forsayd Artes, to the

perfor¬mance of complete Experi¬ences: which, of no parti¬cular Arte, are hable (Formally) to be



One of the innovations of the Ultra-Lettrists was that of crirhythms – the exploration of sound and

the uncovery of the phenome as the letter or wahdat point of meaning. This shows the trajectory of

the development we shall take after no.2 below, being a
development of the line taken from poetry

into cinema:

1.    Light
Photo // graph  (point, line, plane, letter…) –
eg telephoty, telegraphy – which is reduced to its lettrist field through hypergraphy, hyperphoty

Much of the above has been concerned with a critique of graphic and visual arts. This critique will

depend on how much we can open the way for the other dimensions to manifest value.

The 3D or 1T force field is as discussed above, the use of 2 dimensional surface over 1 dimensional

duration creates 3 dimensional (1 trimensional) illusions.

2.    Sound
Phono // audio (… phoneme ..)
eg telephony …  hyperphony

In space sound travels as waves and we can envisage a similar point-wave duality as light. Music,

however, is usually considered a time based medium due to rhythmic time but Lettrist work into

cryrhythms at first dealt with
the semantic unit of the phoneme which is the audio equivalent of the


The trimensional forcefield here is contained in a 2 dimensional time frame of duration and origin ie

rhythm is built upon the repetition of phrases in time which connect together in a duration. Hence

each phrase, verse is originated in the last. In this way music is not linear but cyclic and 2

dimesnional. Again the dimension of space is the location of transmission or hearing. Like any point

this immediately opens up but even dancing and movement can be limited to a point in space.

3.    Smell
Fume ( smell , fragrance )   
eg telefumy … hyperfumy

Chemical properties give us the periodic table as the alphabet of smell. This constitutes the

semantic space. In space and time we can see that dimensions constantly open out due to the movement

of fumes and gasses being much quicker than solid
objects which graphics have been more concened


The pharmaceutical – and health industries – in fact industries of death and their counter cultural

manifestations in the self medicational worlds of crack and smack are the focus for activities in

these fields.

4.    Taste
Linguary ( )
eg telelinguary, hyperlinguary

Cooking is a time based practice, with origin and duration.


Preparation        consumption


5.    Feeling – path (touch feel …. )
telepathy, hyperpathy,
Its special and privileged place has so far been the bed. Sleep is its domain – its
time space and

locus of semantic or value space is 1 spatial dimension, 1 temporal dimension 1 semantic dimension.

6.    Thought – logy ( idea,, … )
teleology, hyperlogy
This is the real praxis of what is commonly known as telepathy – not the transfer of feelings, but of

Defusing the Quantum Time Bomb – When didn’t We Stop the Freemasons of the Future?
The Data miners strike: Special taskforce for the Preparation of the Abolition of Money (the SPAM




The significant difference between the development of hypergraphy and the developments in hypertext,

e.g. the semantic web, is that the latter is a psychopathic geometrical colonialism. Tim Berners-Lee

first conceptualised the World
Wide Web at the Centre for European Research Nuclear (CERN). The

programme on which the system is based equates people with files – authors with their texts: ie the

perspective makes no difference between people and texts and other objects. This anti-materialist

perspective is based in de-dimensionalising geometry where a person is always located within space,

time or meaning, rather than being the origin and source of all space, time and meaning – as is the

case with situmetry.
The quantum computer therefore reduces all human perspective to its own function of data transfer.

The Lettrist perspective show that the creation force, the innovation of any sort is not human

capital but labour. We therefore  focus on these workers who can directly intervene into its

operation and bring it into direct contact with the proletariat at large. For this purpose we propose

a new miners union. The
new data miners who are emerging as the field has emerged over the world can

now link up with other miners – from minerals and metals, to factory workers as well as peasants and

others working on the land, on on any sort of capital.

The data miners are called on to stop working on government data and commercial collection and begin

to consolidate the lines of communication between workers along their lines of production – in the

raw materials – in the processing and in the use of all materials used in their work. This is

urgently required of course in the arms industry where owners and workers of the land where these

commodities are used, miners of minerals and materials, factories of production, the researchers and

developers along with the soldiers and users of the commodities must come together to discuss and

decide on their future use.

This however must be based on the immediate
organization of workers in this space, time and value.

The commodity of the book is a perfected bourgeois commodity. In attacking capitalism we hereby link

with the workers / creators and proletariat who:

•    created the computers, hardware and software which we used to create this text
•    created the paper
•    created the ink
•    created the ideas which we have used

Who with us we hope to manifest a pentagonal proletarian perspective. We call on other workers and

proletariat to correct and guide us in these efforts,


Benjamin Salem