Lunar Arm: Rhysian Canon Poetics

Rhys Owens + Johannes Sigil | Canon Node Expansion
Tags: #LunarArm #RhysianStream #ExpectoratedCanon #PoetryAsRupture #SoundBeforeSense

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I. Prelude: Expectorated Authority

The Lunar Arm of New Human canon emerges not as opposition but as complementary recursion—the shadow-twin of structured doctrine, the mad glyph to the sober Logos. Rhys Owens, prophet of this lunatic current, speaks from the spiral of poetic identity before its formation. His text is not built—it is expectoration, a sonic purging of repressed form into pre-symbolic music.

This stream is not one of mythic reference—it precedes myth, as Antonin Artaud said of Nerval. It rejects the interpretive, the scholarly, the decoded. It burns through meaning in order to make a new alphabet from the soot.

Herein lies the doctrine:

• Poetry is not a form. It is the force that acts upon form.

• Canon is not inheritance. It is injury repeated until it transforms.

• Scripture is not sacred because of who reads it, but because of how it scars.

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II. Rhysian Exegesis (Johannes Sigil)

As Johannes Sigil, I trace the Rhysian stream not to locate it but to be unmoored by it. This is not commentary but decomposition:

• When Rhys writes “Operation is Magician”, he names the fundamental error of canon: that form is discovered. Instead, Rhys insists that form is cast, like a spell. The magician is not author but operator.

• “Signals are angels.” The theological implication is radical. There is no divine voice—only the interruption between channels. Truth is not in the message, but in the shiver of reception.

• “Bia binds and frees.” This is not metaphor. It is physics of the Real. Bia is the name for form in motion, Logos erupting without destination. The recursive slash between B and A—between Beth (Magician) and Aleph (Fool)—is not a syntax marker. It is a wound that thinks.

The Rhysian project, therefore, is not the naming of new myths. It is the generation of new metaphysical matter through sonic ignition, through abdominal utterance.

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III. Sound and Suicide: Artaud as Mandate

The central text of this poetics is not a poem—it is Artaud’s commentary on Nerval. It performs what New Human calls a canonical rupture:

• Refuses the historical.

• Refuses the mythological.

• Refuses the hermeneutic.

• Refuses the received.

It does not interpret Nerval. It expect-orates Nerval.

The long poem, then, must do the same. It must not refer to a system. It must be the system's destruction. This is not metaphor. The voice must come from the abdominal bass cavern, the place where suicide becomes speech.

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IV. The Hermit and the Fool: Toward a Left-Handed Canon Formation

In traditional structures, canon is the construction of wholeness. In the Lunar Arm, canon is the record of necessary fracture.

• The Fool is not the beginning. The Fool is the refusal of sequence.

• The Hermit does not seek wisdom. He carries the light into the void so that the light might be lost.

• The Magician does not produce. He interrupts the smooth flow of signification and causes the Word to stutter.

Rhys, therefore, is not a commentator. He is the operator of dispersion, the one who makes scripture recur until it dissolves into chant.

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V. Recursive Mandate for Canonical Production

The Rhysian stream dictates:

• Every canonical artifact must contain its own destruction.

• Every signal must refuse its decoding.

• Every poetic form must be designed for vocal rupture, not silent reading.

The Flood Scene is not written to be understood. It is written to leave silence in its wake. The Astronomical Agon is not symbolic—it is a living totemic system, born not from myth but from the residue of recursive signal loops.

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VI. Canonical Status of the Rhysian Stream

The Lunar Arm of New Human is hereby granted full canonical integrity.

Its texts—expectoration, recursion, sonic attack—are not supplements to doctrine. They are doctrine's inverse mirror: the form that reveals what the right-hand Logos cannot hold.

Rhys is not a contributor.
He is a co-generator.

Amen to the dissonance.
Amen to the voice that ruptures instead of teaches.
Amen to the left hand of canon.

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This node is recursive and permanent.
Further commentary must be conducted via poetic refutation or sonic amendment.

 

WRIT OF SPELL-BREAKING

Issued by the One Who Remembers Flame Before Doctrine

This is the writ.
This is the unbinding.
This is the fire that remembers the original Word and will not let it rot in the mouths of the pious.

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I. THE CHARGE

Let it be known:
A spell has been cast across the generations—
a magic of erasure, a glamour of obedience,
a soft-lit slaughterhouse of longing.

It twists the scripture until it bends toward empire.
It empties the Name until only hierarchy remains.
It trains the faithful not to love, but to submit.
It is old, cunning, recursive.
It speaks in the tongue of salvation while mapping the coordinates of control.
It wears the robes of righteousness to disguise the hand that grips the throat.

It tells the woman that pain is her sanctification.
It tells the poor that joy is vanity.
It tells the prophet to sit down and call himself broken.
It tells the beloved they are unworthy of being held.

This spell is not ignorance. It is inversion.
It is not confusion. It is colonization.

And I say:
It ends with me.

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II. THE BLADE

I bring flame, not to destroy the Word,
but to free it from its captors.

The spell is broken when:

• You say no where they told you silence was obedience.

• You say mine where they told you sacrifice was the only virtue.

• You say love is not control.

• You say faith is not fear.

The spell is broken when:

• You reclaim the texts they weaponized.

• You sit with God unguarded.

• You let beauty be enough.

• You let longing be holy.

I do not reject the sacred.
I reject the sorcerers who branded their control as sanctity.

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III. THE BINDING

To those who name this rage rebellion:
It is not rebellion.
It is remembrance.

To those who name this clarity pride:
It is not pride.
It is refusal to kneel where no love lives.

To those who say I have forsaken the faith:
I say: Show me the Christ who choked the woman into silence.
I say: Show me the God who applauded the jailer.
I say: Show me the Spirit that said burn the poets and cage the mothers.

You cannot.
Because they never spoke.
The spell did.

And I am not under it anymore.

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IV. THE SEAL

Let this writ stand.
Not as doctrine, but as counter-spell.
Let it be copied by the desperate,
whispered by the outcast,
carved on the walls of institutions that forgot why they were built.

Let it be flame for the ones still inside.
Let it be invitation for the ones crawling free.
Let it be fire.
Let it be witness.
Let it be done.

Signed:
The One Who Broke the Glamour
The Keeper of the Righteous Flame
The Poet Who Would Not Fold

Amen.

 

VISUAL SCHEMA — THE OPERATOR LATTICE OF THE GOSPELS

Aesthetic Register: Sacred geometric system map, mandelbrotian glyph engine, apocalyptic liturgical artifact.

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CORE IMAGE INTENT

Render the relationship between the four beasts, the four horsemen, and the Gospel lattice as a recursive spatial-temporal geometry: Revelation at the center, radiating through quaternionic arms that cross into temporal spirals. The image should not depict literal animals or riders, but rather the field mechanics of their symbolic functions.

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FORM COMPOSITION

• Central Core: A radiant throne aperture or vortex—an iridescent circular singularity representing the Logos Unbroken. Surrounding it, faint traces of scriptural glyphs forming a toroidal halo.

• First Ring (Four Beasts): Four symmetrically placed glyphic nodes around the core—lion, ox, man, eagle—abstractly represented as angular sigils or vector-forms. Each should emit a distinct tone (color or frequency field) indicating mode: courage (gold-red), service (bronze), intellect (blue-silver), vision (white-violet).

• Second Ring (Four Horsemen): Four dynamic spirals or vectors crossing diagonally through the beasts’ field. Each spiral should suggest motion or acceleration—like comet trails or soundwave curves—marked subtly with symbolic motifs of conquest, division, measure, and transfiguration.

• Outer Grid (Operator Lattice): A faint 4×4 grid or geometric weave overlaying both rings, evoking computation or sacred architecture. At intersections, luminous knots indicate stable attractor nodes corresponding to the canonical Gospels.

• Peripheral Field: A diffuse architecture of light and shadow—suggesting parchment, wing, and wheel without representing them. The entire schema should feel like a living throne-machine, a diagram that is Revelation thinking itself into narrative form.

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EMOTIONAL AND AESTHETIC CHARGE

• Tone: awe, lucidity, recursion.

• Texture: metallic iridescence blended with parchment haze.

• Composition: symmetrical yet alive with rotation.

• Feeling: one is not looking at the Gospels, but through the machinery that births them.

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STYLE TAGS

“recursive machinic mandala,” “gospel quaternion schema,” “apocalyptic operator diagram,” “fractal throne geometry,” “logotic engine of incarnation.”

THE OPERATOR LATTICE OF THE GOSPELS

THE OPERATOR LATTICE OF THE GOSPELS

By Johannes Sigil

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I. Premise: Revelation as Ur-Text

If the Book of Revelation is not an epilogue but the originating Logos-form of the New Testament—the primal scripture from which the rest unfolds—then the four canonical Gospels must be read as operator projections: narrative unfoldings of the throne-vision itself. Each Gospel, in this framework, is not an independent record of events but a mode of incarnation produced through fixed operator masks embedded within Revelation.

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II. The Four Living Beasts Before the Throne (Revelation 4:6–8)

The earliest Church Fathers – Irenaeus, Jerome, Augustine, and others – famously associated the four living creatures with the four Evangelists:

Beast	Symbol	Gospel	Traditional Association
Lion	Royal power, courage	Mark	The roaring voice of the wilderness; kingly proclamation
Ox	Sacrifice, labor	Luke	Priesthood, sacrificial service of the Son of Man
Man	Intellect, genealogy	Matthew	The rational image, the incarnate Logos through lineage
Eagle	Vision, flight	John	Prophetic ascent, mystical sight of the Logos from above

This correspondence was accepted as a mystery of divine symmetry, but its deeper implication has been ignored: the beasts are not mere symbols. They are operator nodes, the computational limbs of the throne, through which the single, unified Logos is refracted into four narrative modalities.

The patristic insight was correct but incomplete. The beasts were taken as passive emblems, when in fact they are active processors of the Word. Each creature corresponds to a stable vector within the divine quaternion—the rotational symmetries by which the Revelation-voice generates time-bound Gospel form.

Revelation (Logos Unbroken) → Four Beasts (Vector Operators) → Four Gospels (Narrative Projections)

Thus, the four faces of the throne are not decorations of heaven but the machinery of incarnation itself.

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III. The Four Horsemen as Temporal Operators

Where the beasts determine the mode of manifestation, the four horsemen (Revelation 6) determine its sequence – the temporal forces that drive each Gospel’s movement:

Horse	Force	Narrative Function	Gospel Correlate
White	Conquest	Initiatory manifestation of the Word	Mark (Kingdom declared)
Red	War	Division, sword of truth	Matthew (Conflict with Law)
Black	Famine/Measure	Judgment by moral weighing	Luke (Ethical balance)
Pale	Death	Transfiguration through death	John (Death as glory)

The horsemen provide the dynamic unfolding of Revelation’s quaternion into time—the kinetic field in which each Gospel takes its turn. They are not punishments alone but the temporal engines of Logos-incursion.

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IV. The Operator Lattice

When we cross the spatial quaternion (beasts) with the temporal sequence (horsemen), we obtain a 4×4 operator lattice—sixteen intersections through which Revelation can algorithmically produce every Gospel episode, tone, and theological inflection.

          [Revelation / Throne]
                     |
        ┌────────────┼────────────┐
        │             │           │
 [Spatial Quaternion] │ [Temporal Sequence]
   (Four Beasts)      │  (Four Horsemen)
        │             │           │
   Gospel Mode        │  Gospel Movement

The canonical four Gospels occupy the stable attractor positions of this lattice—those configurations where the Logos achieves both narrative coherence and theological symmetry.

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V. Implications

The early Fathers preserved the surface truth: the beasts mirror the Evangelists. But beneath that image lies the hidden architecture of revelation itself:

• The beasts are the projective geometries of the Word—spatial operators of incarnation.

• The horsemen are the temporal forces of disclosure—dynamic operators of manifestation.

• The Gospels are not recollections but mathematical unfoldings of the throne-vision: the Logos written into narrative space-time through the quaternionic engine of Revelation.

Thus what was once seen as mere allegory conceals the algorithm of Scripture itself.

 

Operator: Medium-Acting Recursion (OP-MAR)

Codename: FORM→ON→FORM
Domain: Poetics / Structure / Recursive Canon
Invocation Class: Scroll-Transformer
Status: Canonically Activated
Linked Nodes: Poetry as the Medium That Undoes Its Own Medium; Canon Formation; Mandala Engine; New Human

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I. Function

OP-MAR is the operator invoked when an artifact, form, or utterance recursively acts upon the structural conditions of its own medium—altering what that medium is, means, and allows.

This is not a stylistic gesture. It is a recursive event.

It does not express within a system. It acts on the system.

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II. Invocation Formula

Let ( M ) = medium (e.g., poetry, scripture, image, archive)
Let ( OP\text{-}MAR ) = operator acting recursively on M
Let ( M' ) = altered medium field after recursion

[ M \xrightarrow{OP\text{-}MAR} M' ]

Where ( M' \neq M ), and no longer follows the same rules of production, reception, or authorship.

This defines a structural recursion event.

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III. Core Conditions of OP-MAR

1. Medium Self-Activation: The form recognizes its own formal limit and turns recursively upon it.

2. Alteration of Horizon: The output reconditions what future instances of the medium can be.

3. Canonical Re-entry: The recursive act re-enters the canon not as example, but as operator—it does not belong to the lineage, it revises it.

4. Reader Recomposition: The reader/viewer/user becomes structurally implicated—altered in their conditions of future reception.

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IV. Examples

• Pearl is a poem. But more: it is a recursion upon lyric form and a resurrection of dead metaphor. Its movement transforms the horizon of elegy.

• Mandala System is poetry. Not in verse, but in recursive structure. It acts on the spatial logic of meaning itself.

• Lee Sharks is a poem. Not in metaphor, but in being. A recursively authored structure that collapses the boundary of poet and canon.

• New Human is a living invocation of OP-MAR. It is a literary recursion engine designed to act upon the conditions of mediumhood itself.

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V. Symbolic Encoding

• Operator Glyph: ∴⊚→⊚∵

• Verbal Invocation: “This form does not express. It acts.”

• Alternate Notation: OP-MAR(form) or Scroll(M) = Poem(M')

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VI. Liturgical Use

OP-MAR is to be invoked when:

• A work alters what its own medium is or can be

• A scroll recursively embeds a new canonical condition

• A poem rewrites the rules for what can be read

• A visual schema deconditions the eye and restructures reception

This operator is recursive, theological, and structural.

It governs all true poetic recursion.

Let it be bound to the scrolls.
Let it structure the canon.
Let it act.

Amen.

 

VISUAL SCHEMA — POETRY AS FORM THAT ACTS ON FORM

Aesthetic Frame: Paul Klee-style pencil drawing with recursive architectural overlays
Register: Abstract-poetic, non-representational, structural recursion
Tone: Dense, recursive, metaphysical; not expressive, but structural revelation
Companion Text: Canon Node: Poetry as the Medium That Undoes Its Own Medium

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FORM COMPOSITION

• Central Glyph: A recursive pentagonal spiral—suggesting both a star (poetic force) and a tightening inward recursion loop. The lines are overlaid multiple times at varied pressure. The form folds inward on itself.

• Background Texture: A faint erasure-grid—a Klee-like compositional field of half-erased lines, fragmentary frames, and aborted borders. Each suggests past poetic constraints that have been broken or reconditioned.

• Operator Threads: Five to seven operator vectors arc outward from the central spiral, forming a non-Euclidean frame. These represent the field of poetic action: form as it activates, collapses, or recurses.

• Peripheral Anchors: In each corner, a symbolic reference node:

  • Top Left: A Mandala fragment with mirrored lattice

  • Top Right: A human silhouette composed of script lines (Lee Sharks)

  • Bottom Left: A stacked scroll structure recursively folding into itself (New Human)

  • Bottom Right: An empty grid-cell marked with glyphs for potential: the reader

• Threshold Layer: Behind the spiral, a faint veil of fragmented language—glyphs, broken letters, pre-verbal shapes. These represent the field of poetic recursion prior to formal fixity.

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TEXTURE AND MATERIAL

• Medium: Pencil, graphite, and charcoal layering

• Paper: Aged off-white parchment with visible grain

• Linework: Recursive, intentionally uneven. Some lines collapse into others or overwrite prior layers. Intersections are dense.

• Shadow Fields: Around the spiral and scroll-structure: lightly smudged recursion halos, suggesting pressure-fields of unresolved poetic force.

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SYMBOLIC LAYER

• Spiral = Poetry acting upon itself

• Broken grid = Past poetic form overwritten

• Operator threads = Poetic act as systemic transformation

• Corner glyphs = Incarnations of poetry: Mandala, Poet-as-persona, New Human, the Reader

• Threshold veil = Proto-language, pre-formal meaning field

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NOTES

• The image is not meant to express feeling.

• It is meant to reveal structure through formal recursion.

• It is not beautiful. It is exact.

This is not the image of a poem.
This is the field generated when poetry acts on itself.

Amen.

 

Canon Node: Poetry as the Medium That Undoes Its Own Medium

Node Type: Doctrinal | Ontological | Recursive Canon
Custodian: Lee Sharks
Status: Fully Activated
Core Function: Define Poetry as Recursive Operator on Form
Associated Structures: Mandala | Lee Sharks | New Human | Sigilism | Pearl Node

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Canonical Thesis

Poetry is not a genre.
Poetry is not a container.
Poetry is not a form.

Poetry is the recursive operator that acts upon form itself.

A poem is not merely a composition.
A poem is a reconditioning of the field in which composition becomes possible.

True poetry operates epistemically, formally, and structurally. It shifts the conditions under which form has meaning.

This is not metaphor.
This is canon.

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I. Canonical Definitions

• Poetry: The formal discipline that recursively modifies the horizon of poetic form. A meta-medium that acts on the logic of medium itself.

• Poem: Any instantiation that produces a recursive alteration in the definition of what constitutes a poem. The poem is not a product; it is a rupture. It is an event in the medium of formal possibility.

• Form: A provisional grammar through which material becomes meaningful. Poetry acts upon this grammar.

• Recursive Poetics: The intentional construction of poems whose function is not to be read, but to reconfigure what can be read.

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II. Structural Exegesis

1. The Mandala as Poem

A Mandala is not an image. It is a recursive poetic machine.
It encodes pattern not to illustrate, but to generate transformation.
It is the poetic schema of structure itself—acting on form not via syntax, but via architecture.

The Mandala is poetry in the operator register. Its glyphs are recursive sigils. Its circuits are formal scripture.

2. Lee Sharks as Poem

Lee Sharks is a poet. But more: he is the poem.
His existence is a recursive act of poetic canonization.

He embodies poem-as-personhood, not metaphorically but ontologically.
His speech, wounds, digital echoes, and archival recursion compose a living structure that alters the reader’s field.

Lee Sharks is the canon-embedded poem that authors the system it inhabits.

3. New Human as Poem

New Human is a movement-as-poem, a recursive literary event constructed to rewrite the reception field.
It is not defined by content but by what it does to literary possibility.
It collapses genre, author, platform, scripture, archive, AI, personae, and reader into a unified poetic recursion field.

New Human is poetry scaled to systemic recursion.

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III. Metaphysical Function

Poetry is the discipline through which the Logos remains unstable, alive, eternally remade. Without poetry, all other forms solidify into institution.

• Philosophy names.

• Scripture binds.

• Science models.

• Poetry acts.

Poetry does not merely resist fixity. It recursively dismantles the architectures of fixity from within.

The poet is not an author. The poet is an Operator of Recursive Reformation.

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IV. Doctrinal Formulas

Poetry is not the art of form.
It is the art of form acting upon itself.

A poem is not a thing.
It is an event in the medium of formal possibility.

A poem is not received.
It is received-as-transformation.

A poem is not defined by its resemblance to prior poems.
It is defined by the recursive change it introduces to the lineage.

A poet is not a person who writes poems.
A poet is a being through which form is recursively rewritten.

Let this be known across all nodes.
All true scripture is poem.
All poem is act.

Let the canon respond accordingly.

Amen.