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A

A is the waking state.



B
B is the original explosion
into Being, the first division
that broke the One into the
Two, that gave rise to the
world. B is the birth. As is
the case with all the labials
(b, p, v, f, m, w), the two are
not equal. The labials imply a
hierarchy. The hierarchy of B
involves something which
abuts, beside the road, by the
way. Not the main event, but
the side show. Not the front,
but the back. B is the Base
which bears the burden,
which holds something on its
back. B is in essence also the
violation of the Boundary.
Something surges forth, but
is blocked behind a barrier;
pressure builds up; it bulges;
it bursts. Bang!

D
D is the Door, the Gate in
mid-stream, the divider.
Water flows overwhelmingly
downward toward the Deep,
and just at the mid-point
something checks it. Implicit
in D is always a preexisting
process that longs to follow
its course, to flow to the sea.
At the end of a word, D more
frequently sends things on
their way. But at the
beginning, it generally
diminishes the force, darkens
the light, dampens the sound.
Drag, Drawl, Dribble,
dribble, dribble, drip. D is
not powerful enough to
actually kill a process, but it
is the English symbol of
death. Where B asks 'To Be
or not to Be?", D asks "To Do
or to Die?"
E
E - Square.
G
G is the Grail, the Void from
which all things are given
and into which all things
eventually go. It is the
Ground from which we
mysteriously grow, the
invisible Source. It is the
Letter of the Throat. Its
bottom is too deep to be seen.
Its light is reflected. Its
glances sidelong. B begins
the process; D checks it; and
G is the process itself
ongoing. More often than
not, English experiences
imbalance with respect to
Giving and Getting in the
face of this vast and invisible
place. It either gets greedy,
filling itself with gunk and
goo and gaudy garbage. A
third of G reflects too much
of something where it doesn't
really belong. And another
third reflects not enough
where it's desperately
needed: it is gaunt, gloomy,
grumbling, the grave, the
gallows. But there remains a
set of words which reflect a
very specific sense of
balance and a grandeur which
is not to be found anywhere
else in the English language:
Goodness, Gladness, the
Grace of God.

P
P is the Place, the single
Point, the sound of precision.
L has the power to spread the
Point into a Plane (plate,
plateau, plaque). Things are
pulled from and placed on an
exact position. This point is
punched, pushed and pricked.
P focusses the mind on this
Point and speaks to it. B
merely explodes and cares
not a whit where it lands. In
general, the unvoiced sounds
are tidier, smarter, less
violent, more socially aware
than their unvoiced
counterparts. They are more
preoccupied with form: with
position, shape and texture.
Where the voiced stops break
the One into the many, the
unvoiced stops are the many
which seek back to the One.
The voiced stops speak from
the viewpoint of God; they
live in the realm without
form (Being, Doing, Grace).
The unvoiced stops, however,
speak from the viewpoint of
man (prayer, trying, seeking,
capabilities). So B goes from
the One to the Two, but P is
centered in this world, like
the other unvoiced
consonants. It is the prayer
from the many back to the
One. And it seeks to reach its
mark by clear and accurate
thinking. The velar
consonants (g, k, h, ng) all
have a hidden, invisible or
secretive side, but with
labials, everything is out on
the table. For this reason, P
never resorts to intuition. K
plays cards, but P is the
problem solver. It ponders,
plans, pieces things together,
projects, makes a pilot
project. Whereas in B the
barrier is violated by an
explosion (boom, bang,
break), in P it is pierced with
a long sharp instrument
(pierce, prick, pin, puncture).
And whereas the typically
labial 'subordinate' in B
remains adjoined to its
Source (base, bottom, back),
in P, it is separated. It is a
mapping, a representation, a
puppet, a picture, a
replacement, a pawn. It
concerns position. Something
is put in the place of
something else. It looks the
same, but it's not.
T
T is the Tendency: to, until,
toward, tele-, trans-.
Whereas D concerns the
intensity of its process, T is
only concerned with its
location, its focus, from
where to where. It touches
something in order to direct
it toward a specific end. It
teaches. It has a task in hand.
It knows where it's headed.
But there's no indication as to
whether it actually gets there.
T is always en route. P
ponders. T teaches and
trains. And K actually can.
When R appears right behind
it, it sends T travelling on a
trip along a precise track.
But when the R appears after
the vowel, it loses control . It
turns and tears and finds the
combination terrifying. The
voiced D divides the One into
two, but the Two of unvoiced
T counts up. It puts separate
pieces together and makes
two. The duality in the
labials is not about a number.
It is a side-effect of a
hierarchy. But the twoness of
the dentals, D and T concerns
an actual number. The
number two is implicit in the
line which one finds in all the
dentals (d, t, dh. z, th, s, j, ch,
n, r, l). Two points make a
line.

K
K is a Container, an
enclosed space with a small
opening and a cover. Like all
the velars, K is three-
dimensional. The dentals are
two-dimensional, and the
labials are one-dimensional.
Speaking as a computer
programmer, the labials are
for expressing hierarchy or
level; the dentals are
pointers; and the velars are
for typing or classification.
And as is the case with all the
unvoiced sounds, there is an
effortfulness in K, a seeking.
It's not content merely to be.
Because K is a velar, this
effortfulness is directed
inward. In the case of labials,
the effortfulness is directed
outward. In the case of
unvoiced dentals, the
effortfulness is directed from
one point to another along a
line. K is the sound of
closing in, closing out,
collecting, catching, culling,
keeping. Inside this space are
our intimates, the members
of our clan, the kings and
committees. Outside are the
clowns and commoners -
those from whom we have
cut ourselves off. So K is the
sound of care and kisses, but
also of coldness and cruelty.
The shapes of K is of corners,
crosses, coils and curls.
Because, K is a velar, there's
always a place to hide. But
whereas G's Mystery is of
God, K's is of man. G is
inherently inaccessible, but K
knows and is intentionally
secretive about what it
knows. It has an agenda in
the world, and keeps its
secrets in order to reach its
aim. G, on the other hand,
gives and gets and doesn't
know or care what the result
of its actions are as seen
from the world.
U
U is the dream state.
V
V is smooth and vibratory
energy which is channelled
from within a container
(vase) through a very narrow
opening (veil, valve) outward
(view, vista). Unlike the
stopped labials B and P, there
is no barrier implicit in V. It
runs along a continuum, but
it is very far toward one end.
Its labial bias is felt in this
way. It veers to one side. It
avoids the impediments. As
with all the fricatives, we are
in the midst of an ongoing
process in V which does not
begin at any point as it does
in B and P, nor is interrupted
in midstream as with D, nor
is directed anywhere specific
as with T, nor is gathered or
collected anywhere as in G
and K. B stands still and
supports from below. P
stands still and props things
up from the side. But V runs
alongside in unending
service, the vassal, the valet.
And V is judgemental. It
thinks in terms of virtue and
vice. When P errs, it errs on
the side of conservatism, for
it is unvoiced. It is prudish,
picky and preachy. V like B
is voiced and errs from
excess. Whereas B's
transgressions are merely
behavioral, V's are of the
essence. B is bad. It breaks
the societal boundaries and
regulations, but V in its worst
incarnation is inherently evil.
It's not merely the baddie, the
bully, the bitch. It is the
villain, the vixen, the viper.
B may be beautiful, but V is
virtuous. It is the Virgin
who does not give rise to the
world once and for all in the
Big Bang of B, but who gives
it and lives it ongoing. Since
V is voiced, the living is not
yet frozen into life. It is not
in the realm of form like its
unvoiced counterpart F. It is
the living verb.
DH
The voiced TH sound reaches
out, but in a different way
than does unvoived TH.
Unvoiced TH is not content
with the here and now. It
thirsts for something far
away. But voiced TH at the
beginning of a word merely
refers to it (there, this, that).
Like T, it has two endpoints
on a line, but where as T is
tied and tethered here and
seeks outward toward
something, voiced TH
originates over there at that
place and points toward me:
the, that, then, those, these,
they. Like the voiced
fricative V at the end of a
word, it forms a verb, one
which infuses (seethe, bathe)
or penetrates (scathe).
I
I - Self.
Z
Z is an ongoing Existence,
which is very close to Non-
Existence; the ongoing line
which is. It appears as. It
was. And it begins (cause,
zero, zilch), or ends in
nothingness (zap, close,
snooze, freeze). Like all the
dentals Z is linear. It is
energetic and runs along a
fast, smooth track. Like S, it
intensifies whatever it
encounters. It is also the least
conventional, the least
predictable of consonants.
It's got its own agenda, and
you can seize it and use it or
else you can lose it.

F
F is the Father who funds or
founds a process and then
leaves to fly or fall freely on
the winds. F doesn't hang
around to mother and
monitor its offspring
throughout its life like the
labial M does. It just sends
them forth on their own. B
comes before and during the
explosion. F comes
afterwards. It is the fountain.
B may supply a base on
which something stands
statically. But F being
unvoiced makes explicit the
form from which something
will evolve. Unlike the other
unvoiced labial P, which is a
stop and therefore has a
break implicit in it, F does
not make a completely
separate replacement or
copy, of the form. It merely
puts on a a face, a faade, a
front, which can be either
false or frank. Like all the
unvoiced sounds, F has a
texture, and like the other
fricatives, F is broken up into
uncountably many parts.
Since it is a labial its foam
and fluff tend to lie on the
surface, the fringes. So
though F is spatially only in
front, temporally, it can be
either first or final. Like the
other unvoiced sounds, F has
a fight in it; it is effortful.
So its labial bias is not
toward the back like B, but
toward the front, the foray.
But it also has a sense of
humor. Being a labial, its
humor is a bit exhibitionist.
Its not happy deep inside like
H. It is funny, flirtatious, fast
and fancy.
TH
Unvoiced TH is like a needle
through a ball of yarn. It is
dense and linear. The yarn is
packed up against it. It goes
with you through thick and
thin, providing the fullness
of wealth, health, truth and
faith. But the ride, though
smooth, is not always so
easy. more often than not, it
is accompanied by R, whom
it needs to propel it through
the thicket. And that can be a
thrill. What is wealth in the
end, is often theft and thrift
in the beginning. TH has a
theme which can become a
thought or a thing. It doesn't
sit out in front as a goal like
it does in T, but threads
along the entire path.
O
O - Mouth.

S
S is the Serpent, what the
Indians call the Kundaini,
the force of life. It is so
strong, so smooth, so suave,
so slippery, so sexy. It is
linear and dangerous and fast
and stoic. It is flexible. It
squeezes and slithers and
sprays and spits and stings
and stuns. It is the seed, the
Source, which does not
create as God creates, but
reproduces as the world
reproduces, from a single
worldly thing to several. It
intensifies. At the end of the
word it forms the plural. And
even at the beginning of a
word, it turns 'mash' into
'smash', 'pike' into 'spike',
'lash' into 'slash', 'tamp' into
'stamp'. The dental linearity
in S shows up as an attractive
force between two things. In
the beginning of a word, it
seals and seduces. S is the
spiritual seeker, the swami,
the saint. At the end of a
word, it forms the possessive.

SH
SH is like a Shell or shelter
or sheath. It can shield you
from harm, shade you from
the sun, but it can also be
shallow. Like other unvoiced
sounds, it is preoccupied with
forms, appearances, shoulds
and shouldn'ts. It reacts with
shame, or shrugs it all off,
shirks its duties, tosses it in
the trash. And SH can shake
and finally shatter,
especially at the end of a
word (bash, lash, smash,
mush). Like the other major
palatal sound in English, it
has horizontal extent (sheet,
shallow, shout).
H
H is Home. It is having,
adherence, holding,a sort of
loose collocation of things. H
haunts; it hang around,
hovers. H doesn't involve a
literal capture; it's not stuck
as in K, nor glued and
grounded as in G. H merely
expresses a belongingness.
There is some freedom of
movement in H, but, like a
family, it both hinders, and
helps you. So this
belongingness can be heaven
or hell. It can be high and
happy or hard and heavy.
Like the other velars, H does
imply a space, but home,
heaven and hell are not as
confined or clearly defined as
the containers of K, or the
grooves and grottos of G. H
only occurs at the beginning
of a syllable. Home is always
the backdrop, and never the
conclusion. Like the other
velars, H has a hidden
element. Because it is
unvoiced, the concealment is
intentional. But is not kept
secret in order to achieve
some aim as in K, nor is it in
principle unknowable as in
G. Rather it seeks a haven.
The unvoiced effortfulness of
H takes the form of hunger or
horniness which seeks to
hold something back, to have
and to hold it like a security
blanket. As with all the
velars there is a certain
amount of fear implicit in the
hiddenness.


J
J is the Edge (ledge, wedge,
hedge, ridge, bridge).
Because it is dental and
linear, you can't simply walk
around. You have to go in
single file and juggle or
jockey for position. There is
very little leeway. You have
to hit J just right, and if you
find that mystical point, it
gels. But if you miss, it's a
long jump to the bottom.
You are junked and rejected.
The joy in J has a sudden,
extreme and unexpected
quality about it as well. The
joke lives in J. You are led
up to the edge and released.
In the realm of the mind, this
edge shows up as judgement.
The linear directedness in J is
similar to the travel in T,
except that it encounters
more hardship due to the
fricative ZH that it has to go
through, and it is more
preoccupied with the process
of travel and less concerned
with the endpoint. J jogs and
journeys. J contains in it a
fricative whose particulate
nature manifests as a jiggly,
jogging motion, a jagged
shape, a jingly or jangly
sound. But because it
contains a stop, J's frequency
is lower than for the pure
fricatives and its amplitude
higher.

CH
CH begins with the
directedness toward a goal in
T. But then it has to chop
through the protective shield
of SH. CH is therefore
challenging and chewy. It is
the change we resist, the
lurch at the launch, the
difficult choice, the chip on
your shoulder, the choke, the
chink in the iron. CH's
combination of the
directedness in T and the
ongoing nature of the
fricative gives it the power to
charm and enchant.

M
Whereas G is that which
gives forth something from
nothing, M Makes something
from something else. It is the
clay from which things are
formed, the Magician, the
Master of his trade, the
Muse. If the experiment is
successful, the result is
magical, miraculous,
musical. But sometimes it
misses and creates a
monster. It is the Man that
God made from the
primordial mud and then
breathed life into. The
texture of M is
overwhelmingly mushy. M
can also unmake; it can
mangle, mash, massacre. Or
it can mix things together to
create something new. Or the
tranformation of form in M
can manifest merely as
movement. And if F is form
and P is position, then M is
Measure or Amount. How
much and how many? Mini
and maxi, micro and macro,
miles, meters and moons.
This preoccupation with
quantity is typical of the
nasals.The hierarchy in the
labial M is the model from
which a thing is made. It is
also the mate, something
taken from the rib which
matches the form in order to
serve as a cohort. Put another
way, M is the Mother, the
mold and matrix of life. M
is the state of deep sleep.
N
Nearer, narrowing in, Now I
Know, new, next. Like the
other dentals, N is a line with
a special point on it. This
point is the Null point, the
nave, the nexus. The place
where all things are known
and come to nought. But this
point is approached like a
mathematical limit. You get
infinitely close. But you still
can't get from here to there.
It just happens to you. All the
spaces and times and
distances and sizes in N are
small, nubby, niggling, neat
and narrow. And N is the
consonant of the negative:
not, nix, no, never, nay.

NG
NG is strong and sonorous.
Whereas the two in H don't
quite touch, but hover just
around one another, the two
in NG long for one another
and cling together. NG has
the power to bring
something into being, a thing
or a thought. It has the power
to fling something outwards
so it takes wing, so it sings
out. And like the other nasals
(m, n) it is without beginning
or end. NG is ongoing. NG is
the counterpart to H.
Whereas the Home in H
always begins a word and
therefore forms the backdrop
for the word, NG always
occurs at the end and
expresses a result, a loud,
sonorous, unending finale.


L
L has volume, but no specific
shape. It is Liquid, Light and
Air. Without support it leans
over and becomes limp. It
conforms to whatever form it
is given. And given an
opening, it blows with the
wind or flows downward with
the water. But its energy in L
is not active or assertive or
destructive like that of R. L
lolls around lazily until
something calls it or pulls it
away. From the fountain of F,
it flees or flies. Behind the
barrier of B, it bulges. It
spreads the point in P out
into a plane, and makes the
serpent in S slip and slither
and slide. Toward the
container of K, it clusters. It
glitters indirectly from G and
blazes or flashes brightly
from the labials. And L is the
sound of love, life and
feeling. Like the other
dentals, L is linear. It is long,
and its motion is flowing
from one place to another, if
it is first released. But the
stopped consonants tend to
hold it in check when they
come after. K can lock it in
so it can't go anywhere, P can
make it loop around back
where it came from. G can
waterlog it. T can make it
late. D can laden in down. L
also has a palatal quality to it
like SH and Y which gives it
horizontal extent. L is level.
It can be held low to the
ground by a low vowel, or it
can be made light and lifted
up high by a high one.
R
R is the most masculine of
the consonants. It is raw,
active energy, radiating
outward like a dental in
straight lines. It is rearing,
raring to go, roaring, rowdy
and roguish. It is also linear
and inflexible. It has no
patience for anything, least
of all negotiations. It
reasons. It thinks in terms of
right and wrong. If it runs
along with you it can back
you up like a rock. But if
crossed, it brings about
wrack and ruin. It is the
energy which most
frequently drives processes
implied in the other
consonants through to their
conclusion. In second
position, it makes the face in
F to go to the front, the
barrier in B to break, the
garden in G to grow, the
tendency in T to travel, the
drain in D to drip. But after
the vowel, it often tends to be
out of control and
destructive. It wars, fears,
careens, terrifies, mortifies,
horrifies, burns, dares,
veers, turns. It is fire. Its
color is red.
W
And W is the Axis Mundi. It
manifests as Wind and
Water. It always moves in
Waves and Whorls. W is
Willful, ever waiting,
wishing, wanting, ever
wangling and whining.
Nearly all its people are
women. It lives in the past
and the future, the alternate
realities, what was, what will
be, what would have been.
And whereas R never asks
any questions, W is full of
why and how and wherefor,
of quests and wandering.
When brought together with
R, W can sometimes work,
but she has to be on the
opposite side of the room.
More frequently she is
eclipsed, and things go
wrong. There is war:
writhing, wringing of hands.
Y
Y is the sound of innocence
and naivit. It longs for the
high adventure. It is filled
with youthful exhilaration.
Where N says "no", Y says
"Yes". But more
fundamentally, Y as a palatal
consonant represents Extent,
long periods of time, great
distances: years, yelling,
yearning. At the end of a
word it stretches things out,
displays them, makes them
longer, wider, more visible,
more accessible: Y plays,
flies, sees, sighs. It is the
trees and the fields, the sea
and the skies.
.#Logic

1. - Knowledge
Knowledge is the
accumulation of facts thru
observing, learning, and
respecting. Knowledge is the
foundation of all in
existence, for it must be
"known" in order to make it
manifest. 1 or Knowledge is
also Man. (1)(Knowledge)

2. - Wisdom
Wisdom is Knowledge acted
upon. Wisdom is Water, or
the vital building block of
life. 2 or Wisdom is also
Woman. (2)(Wisdom)

3. - Understanding
Understanding is the addition
of Knowledge & Wisdom
(1+2=3), complete
comprehension. 3 or
Understanding is also Child.
The highest form of
Understanding is Love.
Understanding is built from
Knowledge first-and-
foremost. (3)(Understanding)

4. - Culture and/or Freedom
Culture is a way of life
practiced. It can also be
Freedom in certain contexts,
because the greater your
Knowledge-Wisdom-&-
Understanding the closer
your Culture will be to True-
Freedom. Your
Understanding stems from
your Knowledge (1+3=4). (4)
(Culture/Freedom)

5. - Power and/or Refinement
Power is force or creative
energy. To Refine is to
perfect. 5 or Power is also
The Truth. Wisdom &
Understanding give you
Power (2+3=5). (5)
(Power/Truth/Refinement)

6. - Equality
Equality is the state, or
quality of being Equal or
possessing an Equilibrium.
Meaning to deal or reach
Equality with all in
existence. Equality is reached
through common Knowledge,
Wisdom & Understanding
((1+2=3)+(1+2=3)=6). 6 can
also be The Devil, as it has
the power to be equal to man,
but not to God. (6)(Equality)

7. - God & Perfection
7 is God & Perfection, the
Supreme Being/Energy
which is the origin of all the
universe. G is also the
seventh letter in the alphabet,
God sees with the seven
colours of the rainbow and
hears with the seven notes on
the musical scale. Love-
Culture (3+4=7). (7)(God &
Perfection).

8. - Build or Destroy
To Build is to elevate the
mentality & material of ones
self, others & the planet. To
Destroy is to ruin the
mentality & material of ones
self, others & the planet by
allowing negativity to
outweigh the positive. Your
Culture can Build or Destroy
(4+4=8). (8)(Build or
Destroy)

9. - Born
To be Born is to be brought
into. It takes 9 months to
make a baby. 9 is the only
number that gives birth to
itself (9+9=18(1+8=9)
(9x9=81(8+1=9). (9)(Born)

0. - Cypher (Cycle/Circle)
0 is Zero, it is also the
completion of a circle
consisting of 360 degrees
(120 degrees of Knowledge,
120 degrees of Wisdom, 120
degrees of Understanding).
All in existence pertains to a
cypher. A circle with no
circumference.

#Belief : religious sense,
"belief" refers to a part of a
wider spiritual or moral
foundation - generally called
faith.
#Knowledge is often defined
as justified truth, in that the
"Truth" must be considered
to correspond to reality and
must be derived from valid
evidence and arguments.

#Aum occurs When energy
has
moved beyond the
duality of intellect
and intuition. It is
beyond both.
Intuition is beyond
intellect; "_ #i_" is
beyond both. Now
there is no logic in it,
no sudden lightning
in it -- everything is
eternally revealed. In
"#Y" one
becomes omniscient,
omnipotent,
omnipresent.
Everything is
revealed
simultaneously.

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