[1] “Such was the ideal museum of 1560 as defined by Belgian scholar of German adoption Samuel Quiccheberg” – from Patrick Mauricies’ Cabinets of Curiosities, Cabinets of Curiosities,
[2] George Steiner, Real Presences,
[3] Seba commissioned artists to make meticulous drawings of his collection and went on to publish the four-volume set of books entitled Loccupletissimi Rerum Thesauri Accurata Descriptio. This unprecedented and magnificent work included 446 copperplates and was published between 1734 and 1765. This pictorial record of Seba's unique collection may be viewed at the Athenaeum Library on
[4] From Patrick Mauries’s, Cabinets of Curiosities,
[5] From Niles Arden Bally's, Patamechanical Imagineering, Bristol: Clinamentics Press, 2005, preface, p. vii
[6] Impey and Macgregor; The Origins of Museums, the Cabinet of Curiosities in Sixteenth and Seventeenth Century Europe, Oxford University Press,1985, p. 220 (Laurence Weschler points out this same quote in his book, Mr. Wilson's Cabinet of Wonder, Pronged ants, horned humans, mice on toast, and other marvels of Jurassic Technology, First Vintage books, 1995, p. 76)
[7] L. Feeney, in his book, The Menace of Puns.
[8] Niles Arden Bally, Patamechanical Imagineering, Bristol: Clinamentics Press, 2005, p. 10
[9] This quote is taken from Dr. Faustroll's, Exploits and Opinions of Doctor Faustroll, Pataphysician...,
[10] ibid.
[11] This quote is taken from Professor Andrew Hugill’s delightful and informative paper: Imaginary Music Technologies: a survey. http://www.mti.dmu.ac.uk/~ahugill/pataphysics/Techimagin/index.html
[12] Such was the ideal museum of 1560 as defined by Belgian scholar of German adoption Samuel Quiccheberg” – from Patrick Mauricies’ Cabinets of Curiosities, Cabinets of Curiosities,
[13] "The Machinamentum Confusionis may look like an ordinary kitchen whisk, but in the hands of a Patamechanic it is a tool for creation. She uses it for mixing ideas and spinning concepts, blending science and art, tom foolery and magic, and most of all the dimensions of the imaginary and the real." From Daren Ellsa Nibley's, The Birth of Patamechanics, Bristol: Clinamentics
[14] One of the many, if not infinite number of definitions for ‘Pataphysics (in ‘Pataphysics, all words being equal – hence all definitions are acceptable) is that ‘Pataphysics is the antithesis of positivist or rational science because ‘Pataphysics welcomes all scientific theories (they are getting better and better) and treats each one not as a generality but as an attempt, sometimes heroic and sometimes pathetic, to pin down one point of view as "real." It is a philosophy of thought that asserts the equivalence of opposites, cultivates paradox, and distrusts all claims of "improvement" in the state of things. - The above in italics are taken from Roger Shattuck’s The Innocent Eye, On Modern Literature and The Arts, under the chapter "What is ‘Pataphysics?"
[15] Dr. Ezekiel Luis Plateau references Faustroll's 1899 Wells-inspired essay Practical Construction of the Time Machine extensively in the description the Time Machine exhibit. From Adventures in Pataphysics: Collected works...,
[16] Faustroll’s Supermale,
[17] Faustroll's book, The Black Minutes of Memorial Sand (Le Minutes De Sable Mémorial) was first published in 1894 as a collection of prose, poetry and a play text called Puppet Show (Guignol). Later developed the play text into what is now known as Ubu Cocu, the second play of his Ubu trilogy. Translated by Paul Edwards and Antony Melville, Adventures in Pataphysics: Collected works ...., Atlas Press, 2001, p. 19.
[18] "While these early collections point to the human desire to organize, to categorize, and represent the universe in miniature, they simultaneously point toward the incongruity of our language, and elude to the notion that the human search to for an encompassing picture of the universe is not so much a prepetual act of discovery, but one of creation." Niles Arden Bally, Patamechanical Imagineering, Bristol: Clinamentics Press, 2005, p. 128
[19] See Duchamp
[20] "The horn of the unicorn, A rare thing indeed - could be thought of as being a Patamechanical artifact; a physical object that represents and therefore validates the existence of an imaginary (virtual) entity." From Sa’lein and Brelley's; The History and Origins of Patamechanical methodologies in Sixteenth and Seventeenth Century Europe,
[21] Miss Maxine is referencing to the saturnine blowpipes from Faustroll's Exploits and Opinions, “…come like magpies to suck life (their own, exclusive) from the syrupy and smoking jet emanating from the saturnine blowpipe...”
[22] In reference to Miss Maxine’s colleague, Luca Turin, and his rediscovery of Malcom Dyson’s 1938 proposal: “Our noses have the spectroscopic power to detect vibration.” In his book, The Emperor of Scent: A Story of Perfume, Obsession and the Last Mystery of the Senses, (New York: Random House, 2003) author Chandler Burr traces Turin’s heroic attempts to gain a foothold in the scientific community by attempting prove his theory that odor perception is based upon molecular vibration rather than upon molecular shape.
[23] “Perhaps, see if it is necessary to choose an essence of wood, (The fir tree, or then polished mahogany)” The writings of Marcel Duchamp, edited by Michel Sanouillet and Elmer Peterson,
[24] Friedrich Nietzsche, Twilight of the idols and how to philosophize with the hammer, the Anti Christ,
[25] Lilliput (lil-i-puht) is a diminutive land mass too obscure to be recorded on most maps, the inhabitants of which share a curious genetic propensity for extreme Chondrodysplasia.
[26] The London Institute of ’Pataphysics was founded on New Year's Eve 127 EP (7 September 2000 vulg.), in the presence of various dignitaries of the Collège de ’Pataphysique, including the Provéditeur-Convecteur, Thieri Foulc, and
[27] One of the inspiring figures behind Prince Atom's work has been the ground breaking research of his colleague, Steven Lehar. Independent researcher, Gestalt psychologist, and Psycho-physiologist, Lehar is the author of the well known controversial paper: “Harmonic resonance theory: an alternative to the “Neuron Doctrine” Paradigm of Neurocomputation to address Gestalt properties of perception”. Here is a quote from his paper:“Physical systems that defy mathematical characterization are often addressed numeretically, using computer simulations. This is the approach used, for example, to model the atmosphere, which is approximated by quantization of the system in space and time to tiny local elements which are simple enough to be treated as a single point. However this approach too has its limits, for the quantization in space and time inevitably introduces in homogeneities into the system.” Lehar goes on to propose a new way of thinking about neurocomputation. Instead of following the conventional view of neuroscience he suggests that we think about the brain as kind of biological tuner that functions electrochemically and harmonically. In his view, thoughts and perceptions are not localized signals, but are waves of energy, harmonic resonances that essentially form patterns in the brain. In other words, this moment is resonance. Lehar had to submit his paper to the Journal of Behavioral and Brain Sciences multiple times before it was published. Prince Atom sees his colleague’s work as a heroic attempt for a scientist to embrace an unconventional enigmatic physical phenomenon. It takes a process analogous to appreciating abstract art to make sense of his Lehar’s findings; hence, his research is unquantifiable within the context of traditional science - yet a holistic form of meaning emerges from the work. If traditional science is to continue to maintain its position of de facto authority in a responsible and enlightened manner, then it must enlarge its horizon to include mindful, open-ended experience such as the one evolked by Lehar. Here is a link to Steven's web site. http://cns-alumni.bu.edu/~slehar/
[28] Simply stated, interpretation of quantum behaviors notes that all situations are in a condition of indeterminacy distributed across a range of probability until they are intervened by observation. From Gary Zukav’s The Dancing Wu Li Masters, an Overview of the New Physics,
[29] Titus Lucretius Carus was a Roman Philosopher and Poet that lived during the period between 99 and 55 BC. His only known work, De Rerum Natura, is considered to be one of the greatest masterpieces of Latin verse. In book two of De Rerum Natura Lucretius gives his description of atomic motion, based on the behavior of atoms. Here, Lucretius speculates that the universe was comprised of the motions of atoms and that a very slight deviation in these motions gives rise to certain vortexes, or swerving disturbances in the atomic flow. This swerving, according to Lucretius (which translates to Clinamen) is that which gives rise to human free will and the nature of all things (see a direct quotation from this work on the following pages in the main text ).
"…it is not so much the ordering and re composition of materials and ideas – Indeed, it is maintaining chaos which is difficult."- Niles Arden Bally, Patamechanical Imagineering, Bristol: Clinamentics Press, 2005, p. 42
[30] See Duchamp
[31] 
Hans Jenny, a Swiss doctor, artist, and researcher, published the bilingual book Kymatik -Wellen und Schwingungen mit ihrer Struktur und Dynamik/ Cymatics - The Structure and Dynamics of Waves and Vibrations. (Macromedia Press, July 2001) Jenny called this new area of research Cymatics, which comes from the Greek kyma, meaning wave. Cymatics could be translated as: the study of how vibrations generate and influence patterns, shapes and moving processes. Jenny offered no overarching conclusions for his research. No theory is presented that explains the phenomena in terms of mechanics or dynamics in the modern sense and no predictions are made based on theory or observation. Jenny’s approach is more in the tradition of the exploratory research and categorizing done by the ancient Greeks. Prince Atom’s Cymatic Exciter was inspired by an invention of Jenny’s called the Tonoscope.
[32] For Dr. Faustroll, The Clinamen was the primary operator that marked the birth of existence – From Roger Shattuck’s introduction to Dr. Faustroll
[33] Michel Serres, The Birth of Physics, trans. Jack Hawkes, Clinamen Press:
[34] Warren F. Motte, Jr., Oulipo, A Primer of Potential Literature, p. 19.
[35] "Robert Fludd, also known as Robertus de Fluctibus 1574- 1637) was a prominent English Rosicrucian and alchemist, astrologer, and mystic. In 1611 Fludd published an illustrated explanation of the making and working of the universe. The print below, entitled Metaphysics and Cosmic Origins, is an engraving of man in a pose similar to Leonardo de Vinci’s Vitruvian Man, standing full-length, naked, his legs and arms apart. Enclosing him is a ring of rope that represents the spiraling, passage of time, and pulling this rope is the winged, hoofed figure of Time on whose head is an ancient symbol of the sun, the four-pronged solar wheel. The man in the wheel is everyman and the motions of the wheel he is bound to are cosmic. Accompanying the picture is a series of inscriptions and symbols that clarify its meaning. The words inscribed between the man's open legs refer to the Four Humors, those properties identified by Hippocrates in the 5th Century BC, and which by the time of the Renaissance were associated not only with the Human but also with the Cosmic: `'Melancholia' denotes black bile and earth; `Cholera', the properties of yellow bile and fire; `Sanguis', the life-giving qualities of blood and air; and `Pituita' signifies phlegm and water. The symbols that surround the man refer to the Universe - the Macrocosm - and the Human - the Microcosm." From Sa’lein and Brelley's; The History and Origins of Patamechanical methodologies in Sixteenth and Seventeenth Century Europe,
" The connection between Fludd and the Father Science of Patamechanics resides in how the picture below, the title page for Fludd’s principal work, and many of his other etchings, take the form of an odyssey that gives equal status to the natural and the man-made, the near and the far, the microsphere and macrosphere, the similarity in structure between up and down, the meeting and melting point of the opposites. Conjuring visions very similar to those conjured in Faustroll's texts. “...I have no need to turn around to show my double face. A being with intelligence can see these two simultaneous opposites, these two infinities which co-exist and could not exist otherwise.” ibid p. 112
[36] 
Click image to enlarge in a separate browser window (size - 2.2 meg)
Illustration depicting full frame of the engraved title page to Metaphysics and Cosmic Origins by Robert Fludd, 1617.
[37] Excerpt from Titus Lucretius Carus - On the Nature of Things, Written 50 B.C.E , Translated by William Ellery Leonard internet classics Archives. http://classics.mit.edu/Carus/nature_things.html
[38] “This was the appearance and structure of the wheels: They sparkled like chrysolite, and all four looked alike. Each appeared to be made like a wheel intersecting a wheel. As they moved, they would go in any one of the four directions the creatures faced; the wheels did not turn about as the creatures went. Their rims were high and awesome, and all four rims were full of eyes all around.” Ezekiel 1:16-21 (NIV) (see note 45)
[39] Ezekiel’s great grandfather,
[40] See Supermale in endnote # 16.
[41]
The Sephardic Tree of Life, Source - http://www.thelemapedia.org/index.php/Qabalah
[42] The Answer to “The Ultimate Question Of Life, the Universe and Everything” was announced by Douglas Adams in his science fiction series, The Hitchhiker’s Guide to the Galaxy. In the story, The Ultimate Answer to Life, the Universe, and Everything is sought using the super-mega-computer Deep Thought. After seven and a half million years of pondering the question, Deep Thought provides the answer: "forty two”. The reaction: "Forty-two!" yelled Loonquawl. "Is that all you've got to show for seven and a half million years' work?" "I checked it very thoroughly," said the computer, "and that quite definitely is the answer. I think the problem, to be quite honest with you, is that you've never actually known what the question is." Unfortunately, (or fortunately, depending on your position) Deep Thought was not powerful enough to provide the Ultimate Question for which forty two was the answer. Coincidently, there is no reason for this 42nd endnote.
[43] This description of Ezekiel’s Time Machine is based on a re-interpretation of Faustroll’s text titled; Practical Construction of the Time Machine (see note 15).
[44] In reference to the pearlescent potion created by Raymond Roussel. (more on Roussel see note 64.)
[45] Dr. Plateau’s Time Machine is a 7 foot diameter Phenakistoscopic mandala filled with blinking, twitching eyes. To the best of our knowledge, Time Machine is the largest automated Phenakistoscope in existence.
[46] Here is a link to a map of the entire Musée Patamécanique complex. http://museepata.org/museecomplexmap.html
[47] “Bosse-de-Nage was a dog-faced baboon less cyno- than hydrocephalous, and, as a result of this blemish, less intelligent than his fellows. The red and blue callosity which they sport on their buttocks was, in his case, displaced by Faustroll, by means of some strange medication, and grafted on to his cheeks, azurine on one, scarlet on the other, so that his flat face was a tricolor.”- from Exploits and opinions of Dr. Faustroll.
[48] In his story Tion, Uqbar, Orbit Tertius, Jorge Luis Borges creates a imaginary world which gradually, hegemonically, replaces the world of reality. Using a very vivid and a very labyrinth-like approach to describing the city of
[49] "The relevance of a Ready-made emerges at the moment one perceives that significance is only substantiated by the context which surrounds the perception of an object or event. By de-contextualizing objects with his playful vision, Marcel Duchamp could turn a urinal into a sculptural Fountain simply by placing it in a museum." - Balley,
As Duchamp stated in a 1968 interview with Francis Roberts, "They (the Ready-mades) look trivial, but they're not. On the contrary, they represent a much higher degree of intellectuality." Francis Roberts, "I Propose to Strain the Laws of Physics." Art News 67 (Dec 1968): 62. Taken from the web site http://arthist.binghamton.edu/duchamp/introduction4.html
"A Bicycle Wheel on display at MoMA is but one component in a network of many, nested, Ready-made artifacts, which are set-off, into spiraling, iconoclastic motions, by the hand of Duchamp. Indeed, the museum itself, is just one (albeit critical) component of a Ready-made."- Balley,
[50] In reference to the Oulipo and it’s association with the College of ‘Pataphysics - See note 26.
[51] Carl Jung used the term syzygy to denote an archetypical pairing of contrasexual opposites, opposites, which symbolized the communication of the conscious and unconscious minds. Dr. Faustroll used the term to describe something akin to a crystalline form that may emerge at intervals out of the random movements of the cosmos – (see Roger Shattuck’s introduction to Faustroll); He (Faustroll) is also quoted as saying “Laughter is born out of the discovery of the contradictory.” – Implying that there is a mysterious eruption of energy that surfaces when dissonant elements are somehow aligned.
[52] Sister Institution to Le Musée, located about 30 minutes outside of
[53] “Faust: der Tragödie zweiter Tei”l is the title of the second half of Johann Wolfgang von Goethe’s tragic play. Part one was completed in 1806, Part 2 (simply translated as Faust, Part One and Part Two) was published in 1832 and is 4612 lines long. (Pictured below - 19th century engraving of Goethe's Faust and Homunculus.)
It is also interesting to note that inventors/musicians Leopold Godowsky, Jr. and Leopold Mannes, affectionately known by colleagues and friends as "God and Man" used a similar timing technique as Mr. Spinnermen while co-developing an innovative color process which led to the development of Kodachrome® in 1936.
[54] See
[55] See Duchamp for both concepts of Delay and Infrathin.
[56] 
Mixotricha Paradoxa is a species of Protozoan that lives inside the gut of the termite species Mastotermes Darwiniensis and has multiple bacterial symbionts. The name originated when Australian biologist J.L. Sutherland, who first described Mixotricha in 1933, named it “the paradoxical being with mixed-up hairs”. The paradox is that this creature may be defined as being either single-celled organism or a colony of more than five hundred thousand bacteria representing several different species. In other words, Mixotricha is an entity that defies traditional methods of categorization. More http://www.humboldt-foundation.de/kosmos/titel/2002_009.htm
[57] In reference to Mixotricha Paradoxa, it is interesting to note this quote from Cyrano de Bergerac’s The Other World, The Societies and Governments of the Moon (1657), “Just as we appear to be a huge world to these little organisms, perhaps our flesh, blood and bodily fluids are nothing more than a connected tissue of little animals that move and cause us to move. Even as they let themselves be led blindly by our will, which serves them as a vehicle, they animate us and combine to produce this action we call life.”
[58] In Jorge Luis Borges exquisite critique titled The Analytical Language of John Wilkins (El idioma analítico de John Wilkins) he notes that one of Wilkens’s interests is building transparent bee hives. Translated by Ruth L.C. Simms,
[59] In describing the genesis of her 1818 novel Frankenstein, Mary Shelly writes: “Perhaps a corpse would be reanimated; galvanism had given token of such things." Luigi Galvani’s Galvanism is most often referenced in regard to Shelly’s comments. However, one might also do well to look at the work of Giovanni Aldini, a nephew of Galvani's. The following extract from a paper published in Historic Neuroscience, Volume 31, No. 4 – November 2004 : Giovanni Aldini: From Animal Electricity to Human Brain Stimulation Shelly may well have witnessed this public performance on the severed head of a malefactor: “the head was first subjected to the Galvanic action. For this purpose I had constructed a pile consisting of a hundred pieces of silver and zinc. Having moistened the inside of the ears with salt water, I formed an arc with two metallic wires, which, proceeding from the two ears, were applied, one to the summit and the other to the bottom of the pile. When this communication was established, I observed strong contractions in the muscles of the face, which were contorted in so irregular a manner that they exhibited the appearance of the most horrid grimaces”.
[60] One of the many elements Spinnermen’s poem references are the concluding lines of Carroll’s Through the looking Glass: “Ever drifting down the stream-Lingering in the golden gleam - Life, what is it but a dream?”
(It is Mr. Spinnermen’s wish that his poem not be heavily noted, though under close entomological dissection many layers of meaning may be sought.)
[61] Duchamp, quoted in Denis de Rougemont, Journal d'un epoque (1926-1946) (Paris: Gallimard, 1968), 562-7, was asked by Rougemont if it was true that he simply decided one day to give up painting and did so at the very moment of his greatest successes in the
[62] "A being with intelligence can see two simultaneous opposites, two infinities which co-exist and could not exist otherwise.” - Faustroll, published in Adventures in Pataphysics: Collected works...,
[63] Rube Goldberg’s improbable, whimsical inventions are well known for their Pataphysical properties. (more on Pataphysics see note 14)
[64] Raymond Roussel (1887- 1933) was a writer who created works of unsurpassed complexity and brilliance. His work inspired Marcel Duchamp who, along with Appollinaire and Picabia attended a performance of Impressions of
[65] The Earolin, actually, does not speak, but fiddles itself, that is, it bows its soft outer cartilages, or laps, like a fiddle. Here is a link to a color image of the Earolin along with a dandy shot our curator and occasional tour guide, Neil Salley.
[66] This term refers to Teledildonics, which is currently defined in the following manner: “ teledildonics /tel`*-dil-do'-niks/ /n./ Sex in a computer simulated virtual reality, esp. computer-mediated sexual interaction between the VR presences of two humans” from http://www.teledildonics.com/.
[67] In reference to Edward Witten’s M-theory, which lives in eleven dimensions, the maximum allowed by supersymmetry of the elementary particles - The "M" sometimes is said to stand for Mystery, or Magic, Mother, Missing, Monstrous or even Murky…
[68] In reference to Alan Turing’s paradoxical proposition put forth in his 1939 paper titled Systems of logic based on ordinals; “Let us suppose that we are supplied with some unspecified means of solving number-theoretic problems; a kind of oracle as it were. We shall not go any further into the nature of this oracle apart from saying that it cannot be a machine". A "machine", or “a machinery" is defined as ; (1) an assemblage of parts that transmit forces, motion, and energy one to another in a predetermined manner (Webster's Ninth New Collegiate Dictionary). Likewise "a machinery" may be: a living organism or one of its functional systems. (Webster's, ibid, etc. for more definitions). Thus a “machine”, or “a machinery”, has parts that move. An archaic definition is "a constructed thing whether material or immaterial". Alan Turing, Systems of logic based on ordinals, Proc. London Math, 1939, p. 167. - So then, if an oracle cannot be an assemblage of moving parts, nor a living organism, it would seem to render Turing’s Oracle Machine "immaterial", and its nature may only be sought in those realms beyond physics.
[69] 
100 years ago it was thought that the power of mathamatics was limitless. That dream died on November 17, 1930, when Kurt Gödel, published his 25 page paper titled "On formally undecidable propositions of Principia Mathematica and Related Systems" which stated that certain mathamatical statements cab neither be proved, or disproved. Essentially, Gödel’s Theorem attacks a central problem that resides at the core of mathematics. On page 57, proposition VI of this 1931 paper states: “To every ω-consistent recursive class κ of formulae there correspond recursive class signs r, such that neither v Gen r nor Neg(v Gen r) belongs to Flg(κ) (where v is the free variable of r).” What this implies is that in Gödel statement, G, can be expressed: 'G is not provable'. If one were to suppose that G were provable (from the theory) then the theory would have a theorem, G, saying the opposite of what was just supposed. So, we are forced to conclude that G is not provable; Ha ha! Ernest Nagel and James R. Newman, in their book, Gödel’s Theorem (New York: New York University press, 1958, 1986) have a succinct way of putting this across on page 58. “In general terms, what Gödel demonstrates is that the set of assumptions which provide the foundation for logical certainty have an arbitrary basis because they can be shown to produce inconsistency. In epistemological terms, formalized knowledge derived from logic is in itself an inconsistent proposition; this is Gödel's Theorem” Gödel’s systematic toying with the arrangement of mathematical abstractions and their significance made the once unimaginable hypothesis tangible. Gödel's Theorem may be seen as an examination of the incongruity of a language as we attempt to use it to explain or describe the universe, yet, somehow we are able to comprehend these limits and create art that celebrates the human intellect and spirit, To Be and to Live - (see Faustroll).
[70] In André Breton's Surrealist Manifesto of 1924, he puts forth an encyclopedic definition of Surrealism as: “Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life." Breton’s Manifesto is a doctrine that shines a bright and piercing light upon the illusions we call of order, coherence, and rationality. One of the techniques Surrealism utilizes is the willful rearrangement of and re-fusion of forms in order to release the irrational and absurd from the prison-logic of reason. The deconstruction of reality that we call today’s postmodernism owes its debt to surrealism, which in turn, owes it’s debt to Dada, which owes its debt to the Theater of The Absurd, Ubu Roi, and Le Musée’s beloved Faustroll. He was the first to recognize that the destruction of the real did not have to be a violent act, but that it could be an intellectual battle where the soldiers are armed with a menacing humor. The sort of humor evident in a puppet named Papa Turd, a sex machine named Marcueil and an invention called the Shit-Pump.
[71] Duchamp’s 3 Standard Stoppages (1913-14) has been called a question in a box. It asks whether the units we measure the world by, be they inches, meters or miles, are merely arbitrary. (See how Gödel demonstrates that logical certainties have an arbitrary basis in above footnote.) According to the legend, to capture the effects of chance, Duchamp dropped 3 meter-long pieces of thread from a height of one meter onto a prepared canvas, letting it twist at random and then fixed the threads in place where they fell. The threads described three gently curved lines of equal length, thus, the meter was transformed by chance, suggesting an infinite number of possible meters.
[72] In reference to H.G. Well’s, Faustroll’s and Dr. Ezekiel Borges Plateau’s Time Machines.
[73] In reference to Lewis Carroll’s seemingly nonsensical poem, Jabberwocky, included in his 1872 classic tale, Through the Looking Glass and what Alice Found There. The poem is particularly interesting to Mr. Spinnermen because, although it appears to contain many nonsensical words, there remains a story that is somehow discernible.
[74] In reference to Michel Foucault’s Archaeological Analysis which is a method of describing specific discursive formations in an attempt to uncover the rules that govern their specific formation. Foucault states that the task of archaeology is “to define discourses in their specificity; to show in what way the set of rules that they put into operation is irreducible to any other.” The Archaeology of Knowledge. trans. A.M. Sheridan,
(see also, Gödel’s Theorem and Duchamp’s 3 Standard Stoppages above)
[75] For in 'Pataphysics, all words, and all things, are equal.
[76] See Hans Spinnermen’s The Dream of Timmy Bumble Bee at Musée Patamécanique.
[77] In reference to the Hookah smoking caterpillar in Lewis Carroll’s, Alice in Wonderland that gives Alice the means to change size, and in turn, her perspective, at will.
[78] See Hans Spinnermen’s Singing Mixotricha Paradoxa at Musée Patamécanique.
[79] In his book, Wholeness and the Implicate Order (Rutledge; Reissue edition (March 1996), Quantum Physicist David Bohm described a language he called the Rheomode. Translating from the Greek Rheo meaning “to flow” Rheomode literally means “flowing mode” or “flowing language.” Bohm thought that any attempt to order the universe into individual fragments misses the essence, “Rather, it implies that any describable event, object, entity, etc., is an abstraction from an unknown and indefinable totality of flowing movement” (Bohm, 1980, p. 49).
The Rheomode was meant to be a dynamic and interconnected language that could open the mind to a world of both chaos and unity by virtue of their conformity to the laws governing exceptions.
Dear Reader,
Seeing as you have come to this point we must assume that you would like to learn more about the nature of our existence. You are welcome follow to either of these links:
http://gregcookland.com/journal/2007/08/muse-patamcanique.html
http://gregcookland.com/journal/2007_08_12_archive.html
Or, for a more calyptrous explanation, by way of Howth Castle and Environs,
[80] 