Preconscious Cognition and the Writer[lang_de]Preconscious Cognition and the Writer[/lang_de][lang_zh]Preconscious Cognition and the Writer[/lang_zh]

Mar 16

DIY, Kook science, artistic warfare, augmentations, enlightened media, informative text, metafiction, psychotronics, time travel

From The Art of Memetics by Wes Unruh & Edward Wilson:

We’ve covered a good deal of ground now, from examining construction and distribution of memes to exploring how group minds come into being. We’ve examined how to distribute signals and discussed the power dynamics of information and the overlapping domain of marketing, magic, and masterminding. Now let’s backtrack a bit and examine how to program your preconscious mind intentionally. Your preconscious mind needs precise goals which it interprets literally, and those goals should be upgraded regularly. Your preconscious mind also retains memetic content indefinitely, and so once a meme is embedded it will continue influencing you until it is deliberately altered or removed. Likewise, once a meme is dissolved from your preconscious mind you will no longer have the result of that meme present in your life. By keeping a record (be it journal, collage, series of tattoos, etc.) you can track the directions of the preconscious motivators.

The preconscious mind is driven by emotional energy to move along specific pathways, acting on the dominant memetic structures. Those structures are put into place through repetition, which is a replication of action. What you believe determines how you imagine, and what symbolic structures you access while imagining. We’ve already discussed how the preconscious mind isn’t affected by the passage of time (when you picked up a meme), but rather by the intensity or resolution of a meme. As your beliefs are the very currency of a memetic economy, and belief constrains the patterns imagination can take, monitoring your imagination and critically thinking about why your imagination consistently follows specific vectors will help you identify the belief structures that limit your creativity.

Previous experiences will always be repeated unless the imagination is properly engaged, because those patterns are already in existence internally. Once the imagination is engaged without the constraints of belief, you can begin to be selective about adopting or generating new meme structures. Once engaged, new memes require an incubation period to properly unfold and become dominant, during which time problem solving and goal achievement is being pre-consciously calculated. This programming of the pre-conscious mind is very straightforward, and throughout this text we’ve been exploring the various methods that can be used, as well as the theory behind these practices.

The best results will come from clearly believable and attainable goals which elicit a strong emotional reaction. Begin by specifying all the details of the goal in clear and unambiguous language. The end results should be clearly visualized, and creating a tangible representation of this end result to be a focus for visualization is incredibly useful, and might as well be ESP in as much as psychic abilities and ESP develop directly from this flexing of the imagination’s muscle.

Daily visualization that resolves around having the goal (as opposed to needing the goal) creates a resonance with the subconscious mind and triggers events that will lead you to your desired result. Celebrating successes along the way is reinforcement even more powerful than using positive affirmations, as affirmations can trigger unconscious resistance to the statements98. Over time, the visualization should be made more and more immediate through sigilization techniques, the eventual outcome of this is an intuition as uncanny as any natural ESP or psychic gift.

Continued below…

During visualization, isolate and identify beliefs or meme structures that interfere with the stated goal. This has two effects: establishing confidence toward achieving the goal, and debugging the meme complex you are intentionally installing in your preconscious mind. Chaos magic has presented the innovation of what is called “Sleight of Mind” technique99. This is a method of encrypting a signal in a way that your deep mind gets the message without the conscious mind blocking or interfering with the message’s content. Fiction also offers many ways to encipher information or intent, but is a very limited view of what narrative magic can be.

A story is a structure overlain on the chaos of fragmentary events. Even though the passage of time appears as linear to us, we apportion meaning by means of association. The text is a focus for causing an event, in the same way a poppet or a voodoo doll is a focus for an individual. However, a text can be manipulated in ways that a poppet never could.

Writing is just the generation of words, like life generates memories. Editing is the main event; it’s the sorcery that gives the writing form and meaning. A reporter writes a tale meant to be a picture of an event, and one’s readership takes the text at face value as a depiction of what has occurred. A reporter who writes a tale of an event that never happened or that distorts the event has changed what happened. As far as anyone who wasn’t present at the event is concerned, the article is what happened, unless some contradictory evidence should appear to challenge the article. Even people who were present at the event may easily remember the event differently in reaction to the article. Life is not a static thing, but a published text is. As long as the writer is playing with the material, as long as the text is being written and edited, there is a relationship between the writer and the text100.

For many writers of fiction, myths remain a potent source of inspiration. Myths are like charts or maps, but rather than mapping geographical space, they map intensities within the collective unconscious. While they map in terms of consciousness, we also need a material space-time coordinate to find our way, and this is why comparative mythology and symbology101 are important. The magic and influence of the text is in this relational stage, where the text can influence the writer in direct proportion to the emotional investment the writer has in the text. Once the text is done, and static, it goes on to influence the readers, but for the writer the magic ritual is complete and the text is a talisman resonating with the energy the writer has instilled into it. Too often the purpose of writing is taught to be the telling or showing of a story, a representation of a scene or a situation. However, this is not the most effective approach to take if your purpose is to affect change in the reader and change their experience, especially if the reader in question is also the writer and the editor of the text. As a writer, you are using words like buttons to be pushed, triggering the reader’s ideas, actions, and emotions. When you edit your goal is to make sure everything in your text is consistently reinforcing the effect you intend to create. The plot, the diction, and the characters must all work together. Writing is the science and art of causing change in the reader to occur in conformity with the will of the author and editor. We must decipher these myths by examining the metaphorical language, which then provides the key to harness the flow of intensity hardwired into our beings by this collective unconsciousness.

We are things of parts, assemblages of selves, and by reordering, rearranging, and experimenting with our sub-selves in relation to points of intensities revealed by myth, we can interact with these flows and direct ourselves along new vectors. Without being able to set our own course through these flows, we remain at their mercy, reacting to mythic resonances without understanding why, controlled by those who do know how to capitalize on these embedded energies latent in the collective unconscious. For a fuller view of the power of narrative magic, it helps to return to the idea of a character within a fictional context with you as the writer. Characters have minds of their own. Whether they are a part of the author or something entirely separate is nearly impossible to determine, however as they have a mind of their own it is perfectly reasonable to develop a working relationship with them as a writer. Put them through the ringer; make them encounter situations that allow them to develop so you can learn from their reactions and experiences. As a writer, you have control of their environment and the situations they face, but you should also allow the characters to respond naturally through your fiction. By learning how fiction and story can drive changes in a character, you can also learn to apply these same story techniques to your own experience. One’s life is, after all, made up of the stories we tell ourselves.

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