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Below is an excerpt from W.C. Jones’ 1988 educational text ZONES OF TIME. It is the foundational text of the future we are preparing for and building at New World Strategies. It has given birth to a spiritual and philosophical revolution across the globe and it doesn’t take a fool to see why. Read below to understand for yourself. THE SPIRIT OF MAN Ask someone to close their eyes and picture a cat, and they will get a mental image of a cat. Ask them who is looking at the picture of the cat and they will respond “I am.” That which is looking at the cat is you, a spirit. One is a spirit, who has a mind and occupies a body. You are you in a body.
The mind comes in two parts – the observing mind and the reactive mind.
The observing mind uses past information to make rational observations on problems or situations. The reactive mind is the choices made based off these observations. We aspire to help our members better understand their observing mind in order to control and contain the actions within their reactive minds, in order to live a more rich, full life. We must begin our incision into what ignorant men have termed "Classical Thought" with a clear stroke. This is the division which cleaves at structural myths perpetrated by Men of Science. Stick insect Men smoking cigar plumes dressed in laboratory coats baffled. At a very young age I had baffled these Men of Science. With their pencil lenses they prodded at me and mind: "Childlike" they spewed from ignorant holes. They wrote away my condition as mere deviance, a stray thought in a say of mud. But I had to accept it, as these are systems made to please and comfort. May these Insectoid Science Men delight in their disgusting ways. Prickly-sweet intellectuals with thin beards wading in an ocean of mindlessly volcanic pseudo-talk. Demeaning those few noble intellectuals with thoughts of cruelty and deceit This is the fate of the Ego in modern movement: one made cruel by these Men Of Science. The singular state of consciousness shall be no more. For the mind works through the world to produce two states: The Observational and the Reactionary. The "observational mind" I will term, is the space of extremities, orifices and mouths which consume and churn. This is the mind which operates within so-called cartesian space. THE OBSERVATIONAL MIND I shall elaborate on the observational mind beginning with an anecdote: As a boy my mind was quick. My wit plentiful though my mind even more so. Long stints I would spend gazing blankly at landscapes, walls, textures and objects. Once, I was transfixed for thirteen hours by a protrusion of bark behind the corner gate of my grandfather's stable. Though it was not mere thoughts, but worlds, objects which transfixed my gaze. You see, they spoke to me, reaching out to touch my Ego. I as one of-it as it was of-me. Even as I speak now, I speak the world through my tongue. It filtered through the extremal orifices of my body; though I have trained myself to reverse this filtration. In these moments, the observational mind slows time and commands the world to a halt; bubbling itself in a misty haze of complete subject awareness. The ego speaks to the world in schizoid delight: purely focused in on its beauty and rage. Time moves bi-directionaly in moments of observation. Firstly, infinitely accelerating to a zenith of true contact between the Ego and world. However these two may never touch. Operating in dialect, the observing mind slows time to accommodate for its greater movement. In moments of focus, time exists as a virtuality, as it has entered the conceptual and can only be conceived of as-idea and not as-actuality. However, The Observational mind does not permit action as it is a space free of wills. The Observational mind can only see the Ego and the world before it as it is the relational point between the two. Spatially, the Observational mind operates by means of continual expansion. It is not a contained expansive state, but much rather an infinite reaching outwards of itself. A movement outside, while simultaneously a reaching-in of the world around it. This is why the Observational mind seems to distort space around it. The quilting of internalised structural consistencies become unthreaded. You may feel a sense of shrinking, growing, falling or flying when speaking through the Observational mind. THE REACTIONARY MIND Paradoxically, the Observational mind presents itself to the Reactive subject as lack. Reactionary consideration of the Observational brings with it a great empty hole, a gap of conceptualisation. The Reactionary mind cannot see the relation between the Ego and world as it has no language to speak it. The Reactionary mind is what those so called 'men of science' have foolishly term the 'rational', the 'logical' and the planned. These clinical concerns to an injustice to the work of the reactionary mind, and injustice which has poisoned its work, left it brutalised and tortured into a thin malleable ligament. The reactionary mind offers you the promise of total control, of a logic unreasoned and unattained, while enacting hidden mechanisms of control. The reactionary mind has become a false safety blanket wherein reason is king. The reactionary mind does not think, merely responds based on an infinite collection of interconnected nodes of influence, a matrix of power controlled by billboard producers, mechanical industries and zionist politicians. I am hesitant to instantiate the term 'hegemony' into this thought, as this term distracts from the centrality of the ego within space, however its critiques ring true. THE FICTIONAL DIMENSIONS Fictional symbolisation is a telescopic layer, each lip furling over the next. Fictionality is constructive, determined by the following antonymic layer. Observed universally, each layer is seen as fictional by the next. However, these layers interlope and intertwine, dirty and muddled. Knowledge taken as true always contains within itself the potentiality to become-fictional, and easier so for the fictional to become-real. Men of Science have attempted again and again to institute false boundaries of diegesis, drawing borders and boundaries between the true and untrue. Keep in mind fictionality does not imply falsity, instead the fictional is that which is observed as-constructed and non-inhabited. A fictional consciousness is merely the conscious extension of firstly an author and secondly a reader. Dreams only become fictional when the dreamer becomes aware of the fact they are dreaming. The same can be said for cinema. To the spectator, the picture is fictional, as they relate to it as a film. However the characters of the film rarely hold the knowledge of the film as a film, therefore to them it is non-fictional. THE ALGORITHM The algorithm is a prosthesis which divides, selects and intrudes through a scopic layer of screen mediation. The screen obfuscates mediated text-objects and screen elements: those which form by unconscious distributor states. Element objects are the advertisement driven residue within industrial flow. Text which solely flows through algorithmic relation exist in content pathways which hide from our vision: Beings, Others, faces of friends and strangers are those immediately visible, though taken with an off-familiarity: the screen produces familiarity and thus, obfuscation. A pre-ontologic recognition of an Other: the division between object and spectator meshes, colliding affects of panic and placement, the mediator does its work; the platform parents culture, it may be interfered but only by its discretion. The platform parents culture, but the algorithm may fight it, though it does not know it is doing so, as the algorithm exists as machine - sucking and spitting but never eating or shitting for it only knows its own body its own self. What it eats are those already inside it. The User may enter the algorithm, but only by the algorithms terms. It will see and screen for you, you may guide it but only through the space it mediates for itself. Montage is intersection; and algorithmically mediated flow mechanically positions intersectional nodes not as singular movements but as collectively expressionate in a schizoid flow of empathy. The algorithm fights with difficulty, as it speaks to a culture who never knows it and it never knows. The culture cannot speak algorithmically as the algorithm speaks in a language of nodes, constructs of code-language continent to materiality; the eroding bulk surrounding the busiest deep sea information cable will too rot away one day. CULTS AND MASS GROUP FORMATION Denial onto itself, recognised for others organised onto an intricate group intertwined fixed into a singular consciousness in reach of the singular truth; pure observational realisation. While it can be said many dull minds have snuck their way into states of collective idealisation, this position must nonetheless be viewed with respect, as it takes both genius and a powerful will to form the many dull into the singular great. Consider the metaphor of the craftsmen with only poor, rusted tools at their disposal. The poor craftsmen hides within himself, blaming, projecting outside himself. "It is not me" He squirms: "it is others, it is the world that made be poor, black, or unkempt". These are lies, diversions. As the master craftsmen surpasses the quality of what is around him. The master craftsmen' genius extends beyond themselves, and improves the tools through skill. It is only natural that genius synergises and welds the poor world of objects into the enlightened state of genius. POPULAR CULTURE Popular culture is a time travelling liar squid. It is a mysterious cultural landscape that exists solely in the future, its tentacles stretching back in time, influencing, moulding and nurturing into present cultural spaces. It is impossible to be totally knowledgeable of popular culture, as it is something that perpetually exists in the future and is therefore determined by past relations. Culture is timeless, and it is only through the collective synergy of a collective's consciousness may facets of culture be formed. As such, those that believe they know what is at the apex of the cultural timeline are merely tricking themselves, they are bold and unknowing liars and though you may believe one needs to know they are lying in order to lie you would be terribly false. The lies spewed by liars exist pre-consciously, the fact the lie is even a lie does not cross the liars head, it is merely the underlying truth to the gunk spewed from their abject holes. This is what used car salesmen, fashion designers, greased up television commentators, substance abusers, astrologers, plastic celebrities and politicians all have in common. This is why popular art takes at a minimum of ten to twenty years to mature into truth. Never believe the lies ejected by the contemporary, for its contemporaneity breeds deceit. I have always contended that great art cannot be birthed in youth, it takes genius not only to construct it, but genius to pour over and understand it. Genius that cannot be found in the minds of our corrupted modern youth.
Do you want to hear more of W.C. Jones’ meditations on the above topics and the following?
If so you can pick up ZONES OF TIME by W.C. Jones in any good book store near you. ZONES OF TIME is SOON TO BE AVAILABLE on AMAZON.COM.
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