Henry Flynt Explains My Childhood

Written in 1962 and revised several years later, the following article is from Henry Flynt’s Blueprint for a Higher Civilization, a book that has long been out of print. Perhaps some of you will find some of what it says relevant to your own circumstances. While I’m well aware that portions of the article could be argued to be sexist and offensive, I still find the article as a whole to be worth reflecting on.


  1. Creep

When Helen [redacted] said I was “such a creep” at Interlochen in 1956, her remark epitomized the feeling that females have always had about me. My attempts to understand why females rejected me and to decide what to do about it resulted in years of confusion. In 1961-1962, I tried to develop a theory of the creep problem. This theory took involuntary celibacy as the defining characteristic of the creep. Every society has its image of the ideal young adult, even though the symbols of growing up change from generation to generation.The creep is an involuntary celibate because he fails to develop the surface traits of adulthood–poise and sophistication; and because he is shy, unassertive, and lacks self-confidence in the presence of others . The creep is awkward and has an unstylish appearance. He seems sexless and childish. He is regarded by the ideal adults with condescending scorn, amusement, or pity.

09-exposicion_-1961_0

Because he seems weak and inferior in the company of others, and cannot maintain his self-respect, the creep is pressed into isolation. There, the creep doesn’t have the pressure of other people’s presence to make him feel inferior, to make him feel that he must be like them in order not to be inferior. The creep can develop the morale required to differ. The creep also tends to expand his fantasy life, so that it takes the place of the interpersonal life from which he has been excluded. The important consequence is that the creep is led to discover a number of positive personality values which cannot be achieved by the mature, married adult. During, the period when I developed the creep theory, I was spending almost all of my time alone in my room, thinking and writing. This fact should make the positive creep values more understandable.

  1. Because of his isolation, the creep has a qualitatively higher sense of identity. He has a sense of the boundaries of his personality, and a control of what goes on within those boundaries. In contrast, the mature adult, who spends all his time with his marriage partner or in groups of people, is a mere channel into which thoughts flow from outside; he lives in a state of conformist anonymity.
  2. The creep is emotionally autonomous, independent, or self-contained. He develops an elaborate world of feelings which remain within himself, or directed toward inanimate objects. The creep may cooperate with other people in work situations , but he does not develop emotional attachments to other people
  3. Although the creep’s intellectual abilities develop with education, the creep lives in a sexually neutral world and a child’s world throughout his life. He is thus able to play like a child. He retains the child’s capacity for make believe. He retains the child’s lyrical creativity in regard to self-originated, self justifying activities.
  4. There is enormous room in the creep’s life for the development of every aspect of the inner world or the inner life. The creep can devote himself to thought, fantasy, imagination, imaging, variegated mental states, dreams, internal emotions and feelings towards inanimate objects. The creep develops his inner world on his own power. His inner life originates with himself, and is controlled and intellectually consequential. The creep has no use for meditations whose content is supplied by religious traditions. Nor has he any use for those drug experiences which adolescents undertake to prove how grown up they are, and whose content is supplied by fashion. The creep’s development of his inner life is the summation of all the positive creep values.

After describing these values, the creep theory returned to the problem of the creep’s involuntary celibacy. For, physical reasons, the creep remains a captive audience for the opposite sex, but his attempts to gain acceptance by the opposite sex always ends in failure. On the other hand, the creep may well find the positive creep values so desirable that he will want to intensify them. The solution is for the creep to seek a medical procedure which will sexually neutralize him. He can then attain the full creep values, without the disability of an unresolved physical desire.

Actually, the existence of the positive creep values proves that the creep is an authentic non-human who happens to be trapped in human socialbiology. The positive creep values imply a specification of a whole non-human social biology which would be appropriate to those values. Finally, the creep theory mentioned that creeps often make good grades in school, and can thus do clerical work or other work useful to humans. This fact would be the basis for human acceptance of the creep.

In the years after I presented the creep theory, a number of inadequacies became apparent in it. The principal one was that I managed to cast off the surface traits of the creep, but that when I did my problem became even more intractable. An entirely different analysis of the problem was required.

My problem actually has to do with the enormous discrepancy between the ways I can relate to males and the ways I can relate to females. The essence of the problem has to do with the social values of females, which are completely different from my own. The principal occupation of my life has been certain self-originated activities which are embodied in “writings.” Now most males have the same social values that I find in all females. But there have always been a few males with exceptional values; and my activities have developed through exchanges of ideas with these males. These exchanges have come about spontaneously and naturally. In contrast, I have never had such an exchange of ideas with females, for the following reasons. Females have nothing to say that applies to my activities. They cannot understand that such activities are possible. Or they are a part of the “masses” who oppose and have tried to discourage my activities.

The great divergence between myself and females comes in the area where each individual is responsible for what he or she is; the area in which one must choose oneself and the principles with which one will be identified. This area is certainly not a matter of intelligence or academic degrees. Further, the fact that society has denied many opportunities to females at one time or another is not involved here. (My occupation has no formal prerequisites, no institutional barriers to entry. One enters it by defining oneself as being in it. Yet no female has chosen to enter it. Or consider such figures as Galileo and Galois. By the standards of their contemporaries, these individuals were engaged in utterly ridiculous, antisocial pursuits. Society does not give anybody the “opportunity” to engage in such pursuits. Society, tries to prevent everybody from being a Galileo or Galois. To be a Galileo is really a matter of choosing sides, of choosing to take a certain stand.)

Let me be specific about my own experiences. When I distributed the prospectus for The Journal of Indeterminate Mathematical Investigations to graduate students at the Courant Institute in the fall of 1967, the most negative reactions came from the females. The mere fact that I wanted to invent a mathematics outside of academic mathematics was in and of itself offensive and revolting to them. Since the academic status of these females was considerably higher than my own, the disagreement could only be considered one of values.

The field of art provides an even better example, because there are many females in this field. In the summer of 1969 I attended a meeting of the women’s group of the Art Workers Coalition in New York. Many of the women there had seen my Down With Art pamphlet. All the females who have seen this pamphlet have reacted negatively, and it is quite clear what their attitude is. They believe that they are courageously defending modern art against a philistine. They consider me to be a crank who needs a “modern museum art appreciation course.” The more they are pressed, the more proudly do they defend “Great Art.” Now the objective validity of my opposition to art is absolutely beyond question. To defend modern art is precisely what a hopeless mediocrity would consider courageous. Again, it is clear that the opposition between myself and females is in the area where one must choose one’s values.

I have found that what I really have to do to make a favorable impression on females is to conceal or suspend my activities – the most important part of my life; and to adopt a facade of conformity. Thus, I perceive females as persons who cannot function in my occupation. I perceive them as being like an employment agency, like an institution to which you have to present a conformist facade. Females can be counted on to represent the most social, human” point of view, a point of view which, as I have explained, is distant from my own. (In March 1970, at the Institute for Advanced Study, the mathematician Dennis [redacted] said to me that he would murder his own mother, and murder all his friends, if by doing so he could get the aliens to take him to another star and show him a higher civilization. My own position is the same as [redacted]’s.)

It follows that my perception of sex is totally different from that of others. The depictions of sex in the mass media are completely at variance with my own experience. I object to pornography in particular because it is like deceptive advertising for sex; it creates the impression that the physical aspect of sex can be separated from human personalities and social interaction. Actually, if most people can separate sex from personality, it is because they are so average that their values are the same as everybody else’s. In my case, although I am a captive audience for females for physical reasons, the disparity between my values and theirs overrides the physical attraction. I feel for them. It is hard enough to present a facade of conformity in order to deal with an employment agency, but the thought of having to maintain such a facade in a more intimate relationship is completely demoralizing.

What conclusions can be drawn by comparing the creep theory with my later experience? First, some individuals who are unquestionably creeps asfar as the surface traits are concerned simply may not be led to the deeper values I described. They may not have the talent to get anything positive out of their involuntary situation ; or their aspirations may be so conformist that they do not see their involuntary situation as a positive opportunity. Many creeps are female, but all the evidence indicates that they have the same values I have attributed to other females–values which are hard to reconcile with the deeper creep values.

As for the positive creep values, I may have had them even before I began to care about whether females accepted me. For me, these values may have been the cause, not the effect, of surface creepiness. They are closely related to the values that underlie my activities. It is not necessary to appear strangely dressed, childish, unassertive, awkward, and lacking in confidence in order to achieve the positive creep values. (I probably emphasized surface creep traits during my youth in order to dissociate myself from conformist opinion at a time when I hadn’t yet had the chance to make a full substantive critique of it.) Even sex, in and of itself, might not be incompatible with the creep inner life; what makes it incompatible is the female personality and female social values, which in real life cannot be separated from sex and are the predominant aspect of it.

Having cast off the surface traits of the creep, I can now see that whether I make a favorable impression on females really depends on whether I conceal my occupation. Celibacy is an effect of my occupation; it does not have the role of a primary cause that the creep theory attributed. to it. However, it does have consequences of its own. In the context of the entire situation I have described, it constitutes an absolute dividing line between myself and humanity. It does seem to be closely related to the deeper creep values, especially the one of living in a child’s world.

As for the sexual neutralization advocated in the creep theory, to find a procedure which actually achieves the stated objective without having all sorts of unacceptable side effects would be an enormous undertaking. It is not feasible as a minor operation developed for a single person. Further, as the human species comes to have vast technological capabilities, many special interest groups will want to tinker with human social biology, each in a different way, for political reasons. I am no longer interested in petty tinkering with human biology. As I make it clear in other writings, I am in favor of building entities which are actually superior to humans, and which avoid the whole fabric of human biosocial defects, not just one or two of them.   https://www.youtube.com/watch?v=7V_5KlVFfUY

Henry Flynt Explains My Childhood

“And Not You” A Film By sorax


 

And Not You

All still and moving Photography By soraxtm (sorax)

All Music By Figment Topology (soraxtm (sorax))

All Editing by soraxtm (sorax)

Spoken Word Samples

1.”….Contract and secrete….” From a Physiology Lecture by Dr. Gerald Cizadlo (Dr. C)

2.  “We could wish to be moral, we could wish to be philosophically comforted, in fact, we could will these things with all our might, but the needed power wasn’t there. Our human resources, as marshalled by the will, were not sufficient; they failed utterly”..The Big Book (Alcoholics Anonymous)p.45, We Agnostics

4.”As long as we could believe with Descartes that if we knew something clearly and distinctly, we knew it, we were okay.” Rick Roderick From The Self Under Siege: Philosophy in the 20th Century (1993)  lecture one “The Masters Of Suspicion”. 5.”That’s the problem of false consciousness. That’s why it’s severe. It’s you could be absolutely clear you have no doubt, and it could be a pure abstract cultural mechanism, and not you… and not you” Rick Roderick From The Self Under Siege: Philosophy in the 20th Century (1993)  lecture one “The Masters Of Suspicion”

“And Not You” A Film By sorax

Baby SnuffMuffin (Prolapsed Coaxial)

This short uses music by Figment topology.
The music was remixed using the surround panner in Sony Vegas Ten.
The Photography and Editing  by Soraxtm

Baby SnuffMuffin (Prolapsed Coaxial)

The Kingdom Of Ends (New Short Film)

The Kingdom Of Ends
A Tangential Ecology
Original Production.
Directed By SoraxTm
Soundtrack By Figment Topology
Photography By Maurice Arthur FitzGerald
Public Domain Audio From Alessandro Moreschi
recorded in 1904
Fair Use Audio Clips of
Rick Roderick
William Blake (Poem By)
Ernest Becker (form His Book The Denial Of Death)
Bill Wilson Et Al. From The Big Book of Alcoholics Anonymous
Tea Party Demonstration DSLR Video
Provided By Maurice Arthur FitzGerald
Title From Immanuel Kant
The Kingdom Of Ends (New Short Film)

Art Exhibition:Reticulated Anthropogenesis

This is a collection of information copied from the wikipedia interspersed with some Psychedelic Photographic art pieces.

But first Here is an original  poem Inspired By Salvia Divornium  Followed By a Link to a Short Film

Ok let’s get up I’ll just get the over by this gotta get the
keys are over near the OK NOW i’ll just get out of this.
Wait! Ok I’m sitting here in the car and I have the lighter
and my wallet and I ‘m just gonna get my coat and I’ll be
I am  I’m getting out of the
wait did I just drop
I’m getting out of the car

and here I’m getting out of the car
I’ll just be getting out of the
and there
oh here go the feet
Ah I can breath
I’m getting out of this
I can feel the other thing
coming over the top but It’s not

wait I’m getting out
I’ll just swing my way up out of the car
ah I can breath again
getting out
this is the thing isn’t it
here we go getting out
Hey look
I’m over here I’m getting out
just like you

we all get out
getting out of the car I’m
there see
there
it was
ah I can breath
I’m getting
got out
wow ah
breath deep
now they are all up
all up all over
we got out up
swung right up and popped down here
right next to this car

we all get up
swing
right next to the car see
ah what a deep breath and we swung right up

Short Film FIgment Topology OriFrom !!!!avi

Machine elves (also known as fractal elvesself-transforming elf machines) is a term coined by the late ethnobotanist, writer and philosopher Terence McKenna to describe the apparent entities that are often reported by individuals usingtryptamine-based psychedelic drugs, especially DMT.[1] References to such encounters can be found in many cultures ranging from shamanic traditions of Native Americans to indigenous Australians and African tribes, as well as amongWestern users of these substances.[2]

From Reticulated Anthropogenesis

This concept may be related to a tendency for the brain to imagine living entities during certain altered states[citation needed]. The best example of this is the extremely common feeling of a living presence during sleep paralysis (which has been theorized as the origin of the succubus, as well as a common theme in many alien abduction stories). However, Terence McKenna and Dr. Rick Strassman have both asserted the sense of reality of the experience is distinct from ordinary hallucinatory experiences, leading both researchers to speculate that perhaps the physics of many worlds is involved.[1]Jacques Vallee has proposed that the entities met may be of an interdimensional nature in his interdimensional hypothesis.

From Reticulated Anthropogenesis

James Kent has put forth a different explanation for machine elves.[3] Kent postulates that the DMT landscape is simply disrupting or “editing” our processing of visual information and causing a chaotic interpretation of it inspired by hyperactivephosphene activity. The brain may fill in the blanks and since we all have an affinity for anthropomorphic things, a humanoid entity may appear out of all this chaos. Our “imaginal workplace” will take the center stage in brain activity, allowing internal data to be interpreted as external stimuli.

When reflecting upon his mescaline experiences Aldous Huxley suggested that there was something, which he called Mind at Large, which was filtered by the ordinary functioning of the human brain to produce ordinary experience. [4]

From Reticulated Anthropogenesis

At about minute one or two of a DMT trip, according to McKenna, one may burst through a chrysanthemum-like mandala, and find:

There’s a whole bunch of entities waiting on the other side, saying “How wonderful that you’re here! You come so rarely! We’re so delighted to see you!”

They’re like jewelled self-dribbling basketballs and there are many of them and they come pounding toward you and they will stop in front of you and vibrate, but then they do a very disconcerting thing, which is they jump into your body and then they jump back out again and the whole thing is going on in a high-speed mode where you’re being presented with thousands of details per second and you can’t get a hold on [them …] and these things are saying “Don’t give in to astonishment”, which is exactly what you want to do. You want to go nuts with how crazy this is, and they say “Don’t do that. Pay attention to what we’re doing”.

What they’re doing is making objects with their voices, singing structures into existence. They offer things to you, saying “Look at this! Look at this!” and as your attention goes towards these objects you realise that what you’re being shown is impossible. It’s not simply intricate, beautiful and hard to manufacture, it’s impossible to make these things. The nearest analogy would be the Fabergé eggs, but these things are like the toys that are scattered around the nursery inside a U.F.O., celestial toys, and the toys themselves appear to be somehow alive and can sing other objects into existence, so what’s happening is this proliferation of elf gifts, which are moving around singing, and they are saying “Do what we are doing” and they are very insistent, and they say “Do it! Do it! Do it!” and you feel like a bubble inside your body beginning to move up toward your mouth, and when it comes out it isn’t sound, it’s vision. You discover that you can pump “stuff” out of your mouth by singing, and they’re urging you to do this. They say “That’s it! That’s it! Keep doing it!”.

We’re now at minute 4.5 [of the trip] and you speak in a kind of glossolalia. There is a spontaneous outpouring of syntax unaccompanied by what is normally called “meaning”. After a minute or so of this the whole thing begins to collapse in on itself and they begin to physically move away from you. Usually their final shot is that they wave goodbye and say “Deja vu! Deja vu!”.

From Reticulated Anthropogenesis

The term psychedelic is derived from the Greek words ψυχή (psyche, “mind”) and δηλείν (delein, “to manifest”), hence “mind-manifesting”, the implication being that psychedelics can access and develop unused potentials of the human mind.[1] The word was coined by Humphrey Osmond, loathed by Richard Schultes, but championed by Timothy Leary.[2]

From Reticulated Anthropogenesis

The word psychedelic (From Ancient Greek ψυχή (psychê) mind, soulδηλος (dêlos)manifest, reveal + -ic) was coined to express the idea of a drug that makes manifest a hidden but real aspect of the mind. It is commonly applied to any drug with perception-altering effects such as LSDpsilocybinDMT2C-Bmescaline and DOB as well as a panoply of othertryptaminesphenethylamines and yet more exotic chemicals.

The term “psychedelic” is used interchangeably with “psychotomimetic” and “hallucinogen”,[4]thus it can refer to a large number of drugs such as classical hallucinogens (LSDpsilocybin,mescaline, etc.), entactogens (e.g. MDMA), cannabinoids and dissociative drugs (e.g.ketamine). The classical hallucinogens are considered to be the representative psychedelics and LSD is generally considered the prototypical psychedelic.[4] In order to refer to the LSD-like psychedelics, scientific authors have used the term “classical hallucinogen” in the sense defined by Glennon (1999): “The classical hallucinogens are agents that meet Hollister’s original definition, but are also agents that: (a) bind at 5-HT2 serotonin receptors, and (b) are recognized by animals trained to discriminate 1-(2,5-dimethoxy-4-methylphenyl)-2-aminopropane (DOM) from vehicle.[5] Otherwise, when the term “psychedelic” is used to refer only to the LSD-like psychedelics (a.k.a. the classical hallucinogens), authors explicitly point that they intend “psychedelic” to be understood according to this more restrictive interpretation (e.g. see Nichols, 2004).[6]

Common herbal and fungal sources of psychedelics include psilocybe mushrooms (largely psilocybe cubensis), variousayahuasca preparations, peyote, Peruvian Torch, and San Pedro cactus.

One explanatory model for the experiences provoked by hallucinogens is the “reducing valve” concept, first articulated inAldous Huxley‘s book The Doors of Perception.[7] In this view, the drugs disable the brain’s “filtering” ability to selectively prevent certain perceptions, emotions, memories and thoughts from ever reaching the conscious mind. This effect has been described as mind expanding, or consciousness expanding, for the drug “expands” the realm of experience available to conscious awareness.[citation needed]

Psychedelic effects can vary depending on the precise drug and dosage, as well as the set and setting. “Trips” range between the short but intense effects of intravenous DMT to the protracted ibogaine experience, which can last for days. Appropriate dosage ranges from extremely low (LSD) to rather high (mescaline). Some drugs, like the auditory hallucinogenDiPT, act specifically to distort a single sense, and others have more diffuse effects on cognition generally. Some are more conducive to solitary experiences, while others are positively empathogenic.

Though the natural drugs have a long history of use and usually have an extensive study profile aside from the mortality rates of the drugs, in recent times there has been large production of hundreds of virtually unstudied psychedelics (JWH-018CP 47,497DPTTFMPP2C-T-72C-HMethyloneN-Methyl-N-isopropyltryptamine (MIPT), and AL-LAD to name a few) that may be potentially harmful. This is especially the case with the designer drugs in the psychedelic-amphetamine class. Because of this factor, one should not make the generalization that all psychedelics can not be potentially harmful at normal doses.

From Reticulated Anthropogenesis

Hallucinogenic substances are among the oldest drugs used by human kind, as hallucinogenic substances naturally occur inmushroomscacti and a variety of other plants. Numerous cultures worldwide have endorsed the use of hallucinogens in medicine, religion and recreation, to varying extents, while some cultures have regulated or outright prohibited their use. In most developed countries today, the possession of many hallucinogens, even those found commonly in nature, is considered a crime punishable by fines, imprisonment or even death. In some countries, such as the United States and theNetherlands, partial deference may be granted to traditional religious use by members of indigenous ethnic minorities such as the Native American Church and the Santo Daime Church. Recently the União do Vegetal, a Christian-based religious sect whose composition is not primarily ethnicity-based, won a United States Supreme Court decision authorizing its use ofayahuasca.

From Freaky
Art Exhibition:Reticulated Anthropogenesis

27 Photographic Considerations of My Front Yard

From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From !!!!!!!!!!!!!!!
From !!!!!!!!!!!!!!!
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
From Blue Dot Contextual Glosses LLC.
27 Photographic Considerations of My Front Yard