July 12, 2004

We are a network! (A note on the ABJAD installment of the numogram)

Communicating via ABJAD and its components as militarized audio/visual ciphers mostly returns to Persian secret societies after Islam (during the reign of caliphs and later) in which the uninitiated should not recognize the basic format (the alpha-numeric plane) of the Arabic ABJAD. The process of extracting the ABJAD system out of its alpha-numeric plane and installing it through audio/visual ciphers, however, should be uncomplicated, concretizing the original ABJAD into the simplest audio/visual signs. There are at least two basic reasons for this simplex installment:

[1] The process should be smooth and easy, providing a fast-forward (let’s say an accelerated line) journey for the conversion of the alpha-numeric system to a sphere of simple signs which are progressively undergoing degeneration (as we will see here) and then back to their alpha-numeric launch-pad. That means a highly versatile line or cryptic current capable of leaping into a new dimension and then according to conditions, junctures and emergencies surprisingly recoiling to its previous point of movement which lies at another dimension ... in this journey, there is no development (or Taxis) on ONE dimension but merely premature (thus untraceable) movements (jumps?) from one dimension to another, drawing a line of skip from one dimension to another, from one plane to its immanent plane. Demons usually mock flight and its consequent trajectories as pathetic economical attempts (angelic?) to grasp what the space is and how radical warmachines (in the term of grasping WAR as a MACHINE) travel. Demons do not fly, they teleport (more on this very soon).

Abdallah Ibn Maymun considered this accelerated line traveling from alpha-numeric dimension to the realm of simple degenerative signs as the dynamic structure of Farsi/Arab secret communities, a regulated yet cryptic current inexorably rendering the cult or the secret community as a warmachine which grasps war in the term of Speed and Secrecy, a mutating line traversing dimensions of alphabet, numbers and signs; and each time according to conditions and emergencies coiling through one dimension different from its previous mode of compositional existence. This cryptric current as Ibn Maymun recognized is, itself, a fuel and composition on which the most ferocious warmachines or vehicles of war can run. Such inter-dimensional crypto-current skip numbers to alphabet to signs and vice versa with the minimum entropy; therefore, it is highly potential for commercial warmachines whose art is generating a hyperstitional crypt network between different milieus and populations unrelated to each other (and now seems they have always been interconnected), folding them (fictionalizing?) into its line of anomalous movement but leaving no record of itself on their planes, running smooth and quiet (the polytics of occultural capitalism and its techno-commercial crypticons).

As Ibn Maymun suggested, these rapid jumps from one dimension to another, crawling from one crypt to another crypt, all reprogram the structural composition of the cult or the crypt-society to be radically dislocated (neither here nor there: a premature existence with its autonomous unlife) and unstable, driving the community to a positive occultural dissolution from which a hundred -- or maybe a thousand -- endo-militarized minorities emerge. This is what actually takes place in the Near and Middle East and by which occultural capitalism has been deeply inspired. There are rumors around Ibn Maymun himself that uprisings, minorities, cults and secret societies emerged wherever he appeared.

[2] Forming a bedrock on which every secret society, cult or religious sect would be able to devise its own tailored audio/visual ABJAD (or crypto-current) while all having the same underlying grid of alpha-numeric system which interconnects them as a military network (a crypto-military slogan: we are a network), a dynamic grid that makes them contagious, intrinsically and internally attractive to each other; populating all cults and secret societies within each other and at the same time forging each community as an occultural entity with its own pathways of development, regression, maneuver, insurgency, disintegration, operation, damnation and treason to other cults and communities; that is to say, an occultural heterogeneity immanent to the composition of a cult and disloyal to preferences of the cryptarchic regime moulded by the community’s border (or what make it demarcated from the Outside). Ibn Maymun found that such an underlying dynamic grid loads an immense potentiality for all of its associated cults or communities, giving them an opportunity to involuntarily consolidate as a Leviathan of uprising, occultural revolution and minorities-flood, cutting down the roots of any State or even cryptarchic regime (cf. Ibn Maymun’s mission to activate the underlying grid of all secret communities and cults in Egypt; what resulted in an occultural revolution against Caliphs).


A few easy examples (having a straightforward line of progression) of how the alpha-numeric ABJAD is overcoded by simple signs; these methods have been widespread (among Dervishes, Assassins, Occultists or secret religious sects) and indicative of occultural epidemics:

The Arabic ABJAD is usually divided into a series of meaningless words (supplied with vowels to render them pronounceable) implying the order of the letter in the ABJAD system and consequently its numeric value:

abjad, hawaz, hoti, kalaman, sa'fas, ghoreshat, sakhadh, zazagh

Notice that vowels bleed into Indo-European languages (ex. English) as letters.

In this order each letter has a numerical value according to its order; alif = 1, baa = 2, jeem = 3, dal = 4 and so one up to yaa = 10; then as previously mentioned the value starts from 20 to 100 (xx --> xxx) then from 100 to 200 and 300 up to 1000 or the letter Ghayn (the third letter in the meaningless word Zazagh).

I’ve extracted this explanation from a Persian essay:


The method of secret communication above alluded to consists in indicating first the word of the abjad in which the letter to be spelt out occurs, then its position in that word. In communicating by raps, a double rap knocks off each word of the abjad, while on reaching the word in which the desired letter occurs its position in that word is indicated by the requisite number of single raps. An instance will make this clearer. It is desired to ask, "Nam-i-tu chist?" (" What is thy name?"): the letters which spell out, this message are -- noon, alif, mim, ta, waw jim (for c h im), ya, seen, ta. Nun is in the fourth word of the abjad, and is the fourth letter in that word (kalaman). It is therefore indicated by three double raps (removing or knocking off the three first words, abjad, hawaz, hoti, and thus bringing us to the next word, kalaman), followed by four single raps (chowing that it is the fourth letter in this word). The remaining letters are expressed in similar fashion, so that if we represent double raps by dashes and single raps by dots, the whole message will run as follows:

---…. (noon); . (alif); ---… (meem); -----…. (ta) -.. (waw); ... (chim or jeem); -- … (ya); ----. (seen); ----- .... (ta).

Messages can be similarly communicated by a person smoking the kalian or water-pipe to his accomplice or partner, without the knowledge of the uninitiated. In this case a long pull at the pipe is substituted for the double rap, and a short pull for the single rap. Pulling the, moustache, or stroking the neck, face, or collar (right side for words, left side for letters) is also resorted to, to convert the system from an auditory into a visual one. It is expressed in writing in a similar fashion, each, letter: being represented by an upright stroke, with ascending branches on the right for the words and on the left for the letters. This writing is called, from the appearance of the letters, khatt-i-sarvi ("cypress-writing?)

Khat-e-shajareh (“tree-writing "). In this character (written, in the usual way of Semitic-based languages, from right to left) the sentence which we took above, "nam-i-tu chist?" (What is thy name?) will stand as follows:


fig. 1

(From A Year Amongst the Persians by Edward G. Browne)


These signs are highly mutable and can be overcoded by the same simple signs repeatedly in creative ways: for example you can change that tree-writing sample by rotating each tree to gain a horizontal, unbroken line:


fig. 2

You can disintegrate the upper lines to new lines via their ABJAD order (you can do the same thing for the lower lines), and each time drawing another horizontal line which corresponds to the level of its overcoding. Lines can be transmuted to dots to simple sounds, etc. (whatever simple sign you can imagine) and then return back to their ABJAD alpha-numeric values as you see in fig. 2. The process is pestilentially repetitive and unstoppable; besides, it will never be trapped by complex signs or their architectural overcoding regimes. The process is merely composed by frozen cries, hiccups, suspended breaths, dots, straight lines, segments, double dots, ..., convulsions and tics: all the tools by which one can diagram the Abomination before melting away in horror.

Posted by hyperstition at July 12, 2004 02:29 AM




Love this sort of stuff, obviously. Ciphers look very cool too -- wish they were part of a standard font.

Posted by: Nick at July 14, 2004 08:17 AM



Please send All Of This Font To Me?
I Need To These Font.
Thank You...

Posted by: Seyyed Reza Rezaei at May 19, 2005 07:49 PM



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