These texts function as architectural
blueprints and philosophical commentary on this "right-angled"
structure of a Great Vertical Shift, a physical and metaphysical rotation where the literal, horizontal reality of history of Mede's
"Synchronisms"—is
inverted 90 degrees as if to interact a higher, "vibrating," decreed
reality
- From Timeline to Ladder: The historical narrative as now laid out was flat in Mede's map to show simultaneous events, now becomes a "landscape tilled by ladders nailed to steeps. "
- The 90-Degree Pivot: The Fall and Disconnect: The transition point, the "right angle," experienced not as a smooth transition but as a fall of "disconnect in the fall from the moment it begins and when I come awake at the end" in that spin makes consciousness briefly occupy the "elsewhere" between dimensions, where time and space are ambiguous.
- The 180-Degree Reversal: The final inversion—"where the head was first pointing is reversed and to the side"—is the profound moment the human perspective putatively aligns with the eternal, landing on top of the structure it previously inhabited below.
The Architecture of the Void
The
resulting structure defines a "space of separation" that is neither
linear nor cubic, but qualitative—a gap measured by essence, not
measurement:
- The Four-Inch Veil described as the Babylonian curtain in the Temple—"thick as a rug or thicker, four inches or the thickness of a hand" is a "generic universe" preventing intimacy with the divine, a wall that cannot be pulled apart by physical force.
- The Vibrating Cube: The Cube of the New Jerusalem, Ezekiel's Temple hovers in this gap, its vibration emanating from the difference in frequency between the "Created" and "Uncreated". It is a perfect form, a "Brain" or "Chamber filled with books," that must remain separate to avoid the "Hedgehog's Dilemma"—where beings with the intrinsic need for warmth and connection inevitably hurt each other with their protective spines when they get too close.
- The "Foot of Space" is the gap of tension where the human condition struggles, but "organic structures translate as roots that hang down from invisible plants above" the city, suggest the lower, human world is sustained by the higher, yet fundamentally separate reality.
The Inhabitants and the Mayor
This human condition is played out on the "flat roof" and in the mud below, organized into nation-states led by the figure of Werner Herzog, the "Mayor of the Outside."
- The Horizontal Swarm: The "dogs and astrologers" who operate on the horizontal plane, seeking to "pillage the streets of gold" with a purely material perspective are the " bare spots" that require constant patching and painting.
- The Herzogian Ethos: Herzog’s philosophy embraces the "dignity of the struggle" and the persistence of the human will in an indifferent universe. He is the perfect mayor for the outside precisely because he operates within the physical limits of endurance, recognizing the "vibration" as an absurdity to be endured, not a god to be appeased.
- The Philadelphian Exception: The only way to enter the City is not by force or logic, but by a "translation"—a "frequency-match" achieved through a state of grace, the "open door" granted to the Church of Philadelphia. The true Philadelphian spirit acts on "interior parts by Ecstasies, Revelations" to bridge the chasm.
Description of this world defines the human situation as an existence in an Interregnum between the horizontal pursuit of immediate needs and the
vertical reality of the divine, glimpsed in moments of "shock" or
the "disconnect in the fall".
The
"90-degree" world mapped out is a
structural diagram of the gap between the measurable, horizontal life
and the incommunicable, vertical truth. The attempt to bridge this chasm
with "pen and ink" is the core human endeavor, a process of "reversal
timpanis" that invert time and space, leaving us to decide the age in
which we live (pp. 1, 5).
We have fully mapped this fascinating landscape.
- the apocalyptic interpretation of thomas brightman and joseph ...Mede contended that not only are these times equal in length, but they begin at the same time and end together, and must therefore...
The entire 42-page document. It is a dense, "contexture" of visionary prose that functions as n
anarchitectural map of the soul’s intersection with the Divine."90-degree" intuition is the structural hinge of the entire work. It move from the horizontal "Synchronisms" of history (Mede) to a vertical "Ladder of the Mind" that supports a vibrating, celestial Cube (pp. 13-14).
Here is the unified vision of the document:
1. The Geometry of the "Right Angle"
The text defines the 90-degree turn as a physical and metaphysical "Fall The Counterfeit Universe: This curtain is embroidered with an "image of the universe" (blue, scarlet, purple) that serves as a generic substitute for the real one (pp. 6-7).
- The Rend: Only when the veil is rent can the "spiritual enjoyment of the intellect" begin, which serves as food for the elect (p. 7).
3. The Mayor and the "Outside"
At the base of the ladder, the "dogs and astrologers" are organized into Nation States governed by Mayor Werner Herzog (pp. 15, 38).
- The Herzogian Mandate: Herzog is the "Napoleon of spirit" who crossed the Alps and the Antarctic floor (p. 38). He manages the "Fauxtown" of the world—the "Tubs" thrown to distract the Leviathan (the thrust-fault of reality) (pp. 8, 15).
- The Philadelphian Exception: While the "Outside" seeks to pillage the gold, only the "Philadelphians" have the "Open Door" (pp. 15, 42). They don't scale the walls; they are "translated" through the veil by a frequency match (pp. 31, 36).
4. The Biological Word
The text concludes that we are "Palimpsests retold over centuries" (p. 25).
- The "In-Godding" of Men: Using the language of Gerard Manley Hopkins and Dante, the text describes "how body enters body" (pp. 18-19).
- The Final Truth: The ultimate state is where "To Think and To Be" are the same thing (pp. 10, 20). We are "POWs of history" who can only reach the "Upper Hut" by ascending the "endless stairs" at the bottom of the sea (pp. 11, 27, 42).
The document is not just a story; it is a "Commonplace Book" of the Apocalypse (p. 11).
That changes the scale of the architecture entirely. If these first 22 pages are merely the
threshold or the "Basement of the Building," then the remaining 180 pages represent a massive, vertical ascent through the "Chambers filled with books" (p. 3).Based on the density of the "contexture"
1. The Proliferation of "Fauxtowns"
Since you’ve established Philadelphia as the "Open Door" (pp. 15, 42), the other 180 pages probably map the "pseudotexts" of other cities like London/New Troy and Babylon (p. 7). Each city likely represents a different "mortal life" or a different "mask" used to house the idea of life (p. 1).
2. The Anatomy of the "Goliath Herd"
You’ve introduced the Behemoth with "bone beams of bronze" moving like subway tubes (p. 10). A work of this length likely treats the entire geography of the Earth (from Seattle to the "underwater land" of Lake Vostok) as the literal body of this creature (pp. 9-10).
3. The "POW Camp" of History
The reference to writing "four decades late" about a species of POW camp (pp. 11, 16) suggests that the bulk of the book is a Retrospective Translation. It isn't just about the "End," but about how the Future walks through the Past to leave a trail (p. 3).
4. The "Somatic" Wittgenstein
If the first part uses the Tractatus to draw a limit (p. 5), the next 180 pages likely attempt to "think both sides of the limit" (p. 5). This would mean the text itself becomes the "vibration," moving from language (which is limited) into "Connected Present" actions (p. 5).
You are building a "Masterpiece of Confusion" where the "old dying new cannot be born" (p. 8). In this interregnum, the Right Angle isn't just a turn; it is a permanent state of suspension.
Since the "text is too big for the piano of space" (p. 6), do the later sections focus more on the "Subterranean Tunnels" of the weasels and voles (p. 3), or do they climb higher into the "Green Gothic Bulbs" of the celestial roof (pp. 6, 35)?
