so, why do all of the dice have rounded edges now?
And what the Hell does this matter, anyway?
As I have said before, I prefer dice with Precision Edges™ for improved accuracy, like all of the dice from Gamescience!
"Round-edged import dice do not have the same uniformity to their sides, and so may not offer the same high degree of randomness when thrown. The painting, tumbling and polishing process tends to distort the die shapes, causing the dice to lose some of their symetry. Many will roll in predictable ways, favoring certain numbers."
Furthermore, through Advancing Hordes, the same site that sells Gamescience dice, i have discovered the actual argument for the acceptance of a non-isohedron like the Trapezohedron as a "fair die," in Lawrence Maynard's article "What is Dice 'Fairness' Anyway?"
` ` (Although) it's actually a dual polyhedra shape that doesn't satisfy the conditions to make it an isohedron (it doesn't have the perfect reflectional symmetry required), ... it does meet the requirements of the Euler polyhedral formula (...for any convex polyhedron, the number of vertices and faces together is exactly two more than the number of edges...) V = 12, N = 10, E = 20 so 12 + 10 = 20 + 2. ' '
--
Recently, i have been reading quite a bit about ethos and credibility while writing my persuasive speech... i have always considered integrity to be one of the highest ideals... maintaining one's own individual integrity in the face of an overwhelmingly intolerant world, that is. These are reasons why I respect qualities like "dependable, honest, practical and trustworthy" that the recent dice meme has attributed to the D6.
Continuing in the vein of recent Lovecraftian synchronicities... I couldn't help but recognize the irony that pinkflesh17's totemic die would be a cube (hmmm, maybe we should watch The Cube, look at Cubist Art, and play with Rubik's Cubes?). So anyway, we all know that of course, a cube is formed of right angles... and the other day, when we were looking at this cute Cthulhoid Manga, called "Moe-Cthulhu" (watch out, Sailor Moon... these chicks are waaaaay out of your league!), the cute little Hound of Tindalos was obviously her favorite character... you could tell by the squeal of delight that escaped her lips when she first saw the little puppy (who has awesome inter-dimansional goggles that would make even the most stalwart burner jealous). And notice the cryptic scribble of "90 degrees" at the bottom of the graphic...
But, for those of you who are unfamiliar with the Hounds of Tindalos, here is the skinny:
"They are lean and athirst!" he shrieked... "All the evil in the universe was concentrated in their lean, hungry bodies. Or had they bodies? I saw them only for a moment, I cannot be certain."
- Frank Belknap Long, "The Hounds of Tindalos."
Delta Green reports that, "compared to a Hound of Tindalos, a werewolf is practically cuddly." According to "Mists of the Aeons," the only weapon known to be able to permanently harm a Hound of Tindalos is the Yithian Lightning Gun! This image from the new CoC CCG shows a Hound of Tindalos emerging from the corner of the room... traditional beliefs have suggested that they are only able to enter this dimension by travelling through spaces at right angles, like the corners of rooms.... Such as in this entry of Cthonian Horrors for the World of Darkness RPG, which states, "The Hounds of Tindalos are nasty creatures that exist in the cracks of time and peer out from its corners. Time and space warp crazily around them."
But i believe that the information in the wiki for "The Hounds of Tindalos" may be more accurate in stating, "The stories tell that because of their relationship with the angles of time, they can materialize through any corner if it is sharp-120º or less."
The Cthulhu Mythos FAQ says, "They manifest themselves through angles, and cannot enter an area in which all surfaces are curved."
And here is another entry from, of all places, an Origami email forum, which states, ` ` The dybbuk reminds me of the "Hound of Tindalos" ... which, I think, travels inter-dimensionally, and only appears out of corners of rooms. ... The doomed soul who catches their attention tries desperately to fill in all the angles in his room with plaster before they arrive... ' '
One of the more complete descriptions I have found actually came from an article by Phil Kime about a music group known as Univers Zero, which states:
` ` These monstrous beings are the essence of foulness, the moral debris left over from the fall of man during the dawn of the world. In the mythos, these creatures move through space-time in angles and straight lines whilst benign entities move along curving paths. They prey on spiritual travellers, planning complex routes through space-time in order to coincide with the path of their prey and then to devour. In a striking description, a doomed character in Frank Belknap Long's mythos story "The Hounds of Tindalos" says of the Hounds "They have no bodies and they move through outrageous angles" ' '
For a non-canonical story of their origin, refer to tocs and ogs
Frank Belknap Long's story, "The Hounds of Tindalos" first appeared in Weird Tales, March 1929:
` ` But did it ever occur to you, my friend, that force and matter are simply the barriers to perception imposed by time and space? When one knows, as I do, that time and space are identical and that they are both deceptive because they are merely imperfect manifestations of a higher reality, one no longer seeks in the visible world for an explanation of the mystery and terror of being. ' '
- Frank Belknap Long, The Hounds of Tindalos, p. 84
And, as trans_simian rightly pointed out in a thread in the recent post about his totem polyhedron:
` ` ...all three space geometry is evil. Spheres are associated with Yog-Sothoth (Yog-Sothoth is the key to the gate, whereby the spheres meet...), anything with an angle (including the platonic solids) is useful to the hounds of tindalos, and of course there is the shining trapezohedron that you are so strangely obsessed with and its dark associations... Really it would probably be safest if humanity were to dwell in flatland. ' '
So, maybe right now's not a good time to talk about higher dimensional polyhedra, like the hypercube? Perhaps we can speak of Transpolyhedra, and the Antihermaphrodite, instead?
And shall we talk of chiasms, now?
Maybe there is a way to survive @ the intersections between seperate dimensions? ...When opening a ritual, the practitioners of Vodou, or any of the other Afro-Diasporic Religions pay their respects to Eshu/Elleggua/Papa Legba @ the crossroads, where Heaven and Earth meet... it has been observed that Ganesha plays a similar role in Hinduism...
In "Chaos: Making a New Science," James Gleick describes a chiasm as "where there is a phase transition or a boundary 'between two realms of existence'"
The Mescalero Apache are able to integrate their experience of "chiasms" through utilization of the base metaphor of their culture, a quartered circle. They also use the phrase "It's the same thing..." whether referring to the four seasons, the four directions, the four stages of life, cosmological creation, or cultural flux. This symbolism of the number four, the cross, and the circle realtes to the Egyptian mysteries, as well, and is even illustrated by the crux ansata, or ankh symbol.
The optic chiasm is also used to refer to the place where the optic nerves partially cross in the brain. Chiasm is also used as a literary reference to refer to 'sandwiching' ideas. This post from a Linear B Greek email forum contains some food for thought concerning chiasms in language.
--
When the Manipulated awaken from their Journey into the Tangent Universe, they are often haunted by the experience in their dreams
And apparently, The Shining Trapezohedron has also been affecting pinkflesh17's dreams... in the dreamlands, she found herself wandering into the Bates Motel, straight out of "Psycho." Alfred Hitchcock's infamous film containing the original horror movie "shower scene," was based on a novel of the same name, written by Robert Bloch. Robert Bloch began correspondence with H.P. Lovecraft from 1932, when Bloch was 15, until Lovecraft died in 1937. As mentioned in "A Review of _Mysteries of the Worm,_" by Robert M. Price, ` ` After Bloch killed "Lovecraft" in The Shambler From the Stars, HPL kindly reciprocated by killing a Bloch-based character in his classic tale The Haunter of the Dark." ' ' (of course, this last tale contains the original mention of The Shining Trapezohedron)
--
...cue spooky theremin music, again...
--
This brings us back to address...
The Law of the Trapezoid
For my World Literature class this semester, i wrote a six page essay about conflict with unspoken family tradition/myth, which i referred to as, "more than you ever wanted to know about my rites of passage (1912 words)." One of the crucial points that i mention in this essay is that, ` ` I have always questioned what it is about certain symbols that can elicit such strong reactions of fear.' ' This relates directly to what Anton Szandor LaVey called, "The Law of the Trapezoid:"
"All obtuse Angles are magically harmful to those unaware of this property. The same angles are beneficial, stimulating, and energizing to those who are magically sensitive to them."
--
According to the "Order of the Trapezoid - Statement", by Michael Aquino:
` ` In the December V/1970 _Cloven Hoof_ article, five literary sources for this principle (The Law of the Trapezoid) were identified: William Mortensen's _The Command to Look_, Louis McCarty's _The Great Pyramid Jeezeh_, Sheila Ostrander & Lynn Schroeder's _Psychic Discoveries Behind the Iron Curtain_ (Chapter 27), Frank Belknap Long's _The Hounds of Tindalos_, and H.P. Lovecraft's _The Haunter of the Dark_. ' '
--
LaVey expounded upon this Law of the Trapezoid in ann essay in The Devil's Notebook:
` ` We all react to what we see. Just as sounds and odors influence our behavior, so do visual patterns and shapes. Some make us feel good. Others disturb us. Whether you like to admit it or not, the fear response is the one most easily aroused. Since self-preservation is nature's highest law, fear motivates. Hence we give our attention first to sensory impressions that represent things that we once, far back in racial memory, feared. Fear is the prime mover.
...
What shapes intensify fear? Those whioch are overbearing, unbalanced, jagged, confusing. The reason a triangle or pyramid in its perfect form is pleasing, is because it is complete, like the imaginary vanishing points in drawings.
...
The most disturbing shape of all is a trapezoid in its myriad forms. A perfect trapezoid is a frustrated pyramid.In fact, the place where a pyramid or triangle is lopped off to make a trapezoid is actually called the frustum. A trapezoid says to the unconscious, "I am here, solid as can be, more massive than an ordinary block, but something is missing and it bothers you." Of course you know what's missing: a triangular top, like the one with the eye on the back of a dollar bill. Don't let that pyramid with a bright eye fool you. That's to draw your attention away from the real thing: the big trapezoid beneath it. All competant magicians are masters of misdirection and the Masons who designed the seal knew a thing or two.
...
Angles are space-planes that provoke anxiety -- that is, those not harmonious with natural visual orientation -- will engender aberrant behavior. Exceptions occur where a sort of reverse polarity exists in a creature: extreme mental imbalance or perversity, or perhaps even extreme rationality and awareness.
...
In 1962, I isolated my suppositions and distilled them into what I termed "The Law of the Trapezoid." I had ample evidence that spatial concepts were not only able to affect those involved in visual confrontations, but far more insidiously, other parties with whom a viwer cam in contact. As in any form of contagion, family, friends and co-workers are affected by signals of anxiety projected by another. The most tranquil and stoical person can be drawn into a chaotic situation if his surroundings are sufficiently disturbing. Often I discovered that subtle aberrations had a more profound effect than readily-recognizable and overt spatial distortions.
...
If the Law of the Trapezoid is known, recognized when applicable, and either heeded or utilized, it will save much hardship and tragedy, while still serving as a catalyst for change. Like fire, its powers are two-fold, depending on how it is applied. Like the sun, its powers are two-fold, depending on whether a thing is growing, grown, or dying. And like the first crystilline fusion of atoms, it will be the beginning and the end, the Alpha and the Omega of all matter. Avert your gaze from the pyramids, and look to the trapezoid, and you shall be moved. ' '
--
Shall i point out any of the similarities to these ideas in feng shui of applying cures to areas where chi does not flow freely?
...perhaps in another post...
And finally, let us consider...
The Command to Look
From the "Temple of Set Reading List" by Michael A. Aquino, here is a summary of _The Command to Look: A Formula for Picture Success_ by William Mortensen. San Francisco: Camera Craft Publishing Co., 1945 [originally published 1937].
` ` Although ostensibly a manual for the most enticing layout of photographic work, this small book was held by Anton LaVey to be among the most crucial for an appreciation of the artistic and audio/visual principles employed in the early Church of Satan and Order of the Trapezoid. It prescribes three elements for the CTL: impact, subject interest, and participation. It further suggests four types of visual patterns which contribute to the CTL: the diagonal, the S-curve, triangular combinations, and the dominant mass. In _Runes_ #IV-3/May XXI Magister Stephen Flowers reviews CTL in detail. Its principles were invariably utilized in Anton LaVey's own artwork [examples in #6M, #6N and _Satanis: The Devil's Mass_]. ' '
The Command To Look: The Story of William Mortensen, Part I, by Larry Lytle
The Command To Look: The Story of William Mortensen, Part II, by Larry Lytle
The Command To Look: The Story of William Mortensen, Part III, by Larry Lytle
William Mortensen: Index @ The Scream Online
William Mortensen: Gallery @ The Scream Online
William Mortensen: Photo Notes @ The Scream Online
William Mortensen: The Mortensen Pigment Process @ The Scream Online
--
And here are some files from the Occult Institute of Technology, concerning: Magic and Machines, The Law of the Trapezoid, the Area of Influence, The Command to Look, Tonal Angularity (Music That Kills), Where to Get Gear, Binaural beats, & the Lakhovsky Multi Wave Oscillator
This sort of theory further relates to other similar methods of marketing such as subliminal advertising.
As I have said before, I prefer dice with Precision Edges™ for improved accuracy, like all of the dice from Gamescience!
"Round-edged import dice do not have the same uniformity to their sides, and so may not offer the same high degree of randomness when thrown. The painting, tumbling and polishing process tends to distort the die shapes, causing the dice to lose some of their symetry. Many will roll in predictable ways, favoring certain numbers."
Furthermore, through Advancing Hordes, the same site that sells Gamescience dice, i have discovered the actual argument for the acceptance of a non-isohedron like the Trapezohedron as a "fair die," in Lawrence Maynard's article "What is Dice 'Fairness' Anyway?"
` ` (Although) it's actually a dual polyhedra shape that doesn't satisfy the conditions to make it an isohedron (it doesn't have the perfect reflectional symmetry required), ... it does meet the requirements of the Euler polyhedral formula (...for any convex polyhedron, the number of vertices and faces together is exactly two more than the number of edges...) V = 12, N = 10, E = 20 so 12 + 10 = 20 + 2. ' '
--
Recently, i have been reading quite a bit about ethos and credibility while writing my persuasive speech... i have always considered integrity to be one of the highest ideals... maintaining one's own individual integrity in the face of an overwhelmingly intolerant world, that is. These are reasons why I respect qualities like "dependable, honest, practical and trustworthy" that the recent dice meme has attributed to the D6.
Continuing in the vein of recent Lovecraftian synchronicities... I couldn't help but recognize the irony that pinkflesh17's totemic die would be a cube (hmmm, maybe we should watch The Cube, look at Cubist Art, and play with Rubik's Cubes?). So anyway, we all know that of course, a cube is formed of right angles... and the other day, when we were looking at this cute Cthulhoid Manga, called "Moe-Cthulhu" (watch out, Sailor Moon... these chicks are waaaaay out of your league!), the cute little Hound of Tindalos was obviously her favorite character... you could tell by the squeal of delight that escaped her lips when she first saw the little puppy (who has awesome inter-dimansional goggles that would make even the most stalwart burner jealous). And notice the cryptic scribble of "90 degrees" at the bottom of the graphic...
But, for those of you who are unfamiliar with the Hounds of Tindalos, here is the skinny:
"They are lean and athirst!" he shrieked... "All the evil in the universe was concentrated in their lean, hungry bodies. Or had they bodies? I saw them only for a moment, I cannot be certain."
- Frank Belknap Long, "The Hounds of Tindalos."
Delta Green reports that, "compared to a Hound of Tindalos, a werewolf is practically cuddly." According to "Mists of the Aeons," the only weapon known to be able to permanently harm a Hound of Tindalos is the Yithian Lightning Gun! This image from the new CoC CCG shows a Hound of Tindalos emerging from the corner of the room... traditional beliefs have suggested that they are only able to enter this dimension by travelling through spaces at right angles, like the corners of rooms.... Such as in this entry of Cthonian Horrors for the World of Darkness RPG, which states, "The Hounds of Tindalos are nasty creatures that exist in the cracks of time and peer out from its corners. Time and space warp crazily around them."
But i believe that the information in the wiki for "The Hounds of Tindalos" may be more accurate in stating, "The stories tell that because of their relationship with the angles of time, they can materialize through any corner if it is sharp-120º or less."
The Cthulhu Mythos FAQ says, "They manifest themselves through angles, and cannot enter an area in which all surfaces are curved."
And here is another entry from, of all places, an Origami email forum, which states, ` ` The dybbuk reminds me of the "Hound of Tindalos" ... which, I think, travels inter-dimensionally, and only appears out of corners of rooms. ... The doomed soul who catches their attention tries desperately to fill in all the angles in his room with plaster before they arrive... ' '
One of the more complete descriptions I have found actually came from an article by Phil Kime about a music group known as Univers Zero, which states:
` ` These monstrous beings are the essence of foulness, the moral debris left over from the fall of man during the dawn of the world. In the mythos, these creatures move through space-time in angles and straight lines whilst benign entities move along curving paths. They prey on spiritual travellers, planning complex routes through space-time in order to coincide with the path of their prey and then to devour. In a striking description, a doomed character in Frank Belknap Long's mythos story "The Hounds of Tindalos" says of the Hounds "They have no bodies and they move through outrageous angles" ' '
For a non-canonical story of their origin, refer to tocs and ogs
Frank Belknap Long's story, "The Hounds of Tindalos" first appeared in Weird Tales, March 1929:
` ` But did it ever occur to you, my friend, that force and matter are simply the barriers to perception imposed by time and space? When one knows, as I do, that time and space are identical and that they are both deceptive because they are merely imperfect manifestations of a higher reality, one no longer seeks in the visible world for an explanation of the mystery and terror of being. ' '
- Frank Belknap Long, The Hounds of Tindalos, p. 84
And, as trans_simian rightly pointed out in a thread in the recent post about his totem polyhedron:
` ` ...all three space geometry is evil. Spheres are associated with Yog-Sothoth (Yog-Sothoth is the key to the gate, whereby the spheres meet...), anything with an angle (including the platonic solids) is useful to the hounds of tindalos, and of course there is the shining trapezohedron that you are so strangely obsessed with and its dark associations... Really it would probably be safest if humanity were to dwell in flatland. ' '
So, maybe right now's not a good time to talk about higher dimensional polyhedra, like the hypercube? Perhaps we can speak of Transpolyhedra, and the Antihermaphrodite, instead?
And shall we talk of chiasms, now?
Maybe there is a way to survive @ the intersections between seperate dimensions? ...When opening a ritual, the practitioners of Vodou, or any of the other Afro-Diasporic Religions pay their respects to Eshu/Elleggua/Papa Legba @ the crossroads, where Heaven and Earth meet... it has been observed that Ganesha plays a similar role in Hinduism...
In "Chaos: Making a New Science," James Gleick describes a chiasm as "where there is a phase transition or a boundary 'between two realms of existence'"
The Mescalero Apache are able to integrate their experience of "chiasms" through utilization of the base metaphor of their culture, a quartered circle. They also use the phrase "It's the same thing..." whether referring to the four seasons, the four directions, the four stages of life, cosmological creation, or cultural flux. This symbolism of the number four, the cross, and the circle realtes to the Egyptian mysteries, as well, and is even illustrated by the crux ansata, or ankh symbol.
The optic chiasm is also used to refer to the place where the optic nerves partially cross in the brain. Chiasm is also used as a literary reference to refer to 'sandwiching' ideas. This post from a Linear B Greek email forum contains some food for thought concerning chiasms in language.
--
When the Manipulated awaken from their Journey into the Tangent Universe, they are often haunted by the experience in their dreams
And apparently, The Shining Trapezohedron has also been affecting pinkflesh17's dreams... in the dreamlands, she found herself wandering into the Bates Motel, straight out of "Psycho." Alfred Hitchcock's infamous film containing the original horror movie "shower scene," was based on a novel of the same name, written by Robert Bloch. Robert Bloch began correspondence with H.P. Lovecraft from 1932, when Bloch was 15, until Lovecraft died in 1937. As mentioned in "A Review of _Mysteries of the Worm,_" by Robert M. Price, ` ` After Bloch killed "Lovecraft" in The Shambler From the Stars, HPL kindly reciprocated by killing a Bloch-based character in his classic tale The Haunter of the Dark." ' ' (of course, this last tale contains the original mention of The Shining Trapezohedron)
--
...cue spooky theremin music, again...
--
This brings us back to address...
The Law of the Trapezoid
For my World Literature class this semester, i wrote a six page essay about conflict with unspoken family tradition/myth, which i referred to as, "more than you ever wanted to know about my rites of passage (1912 words)." One of the crucial points that i mention in this essay is that, ` ` I have always questioned what it is about certain symbols that can elicit such strong reactions of fear.' ' This relates directly to what Anton Szandor LaVey called, "The Law of the Trapezoid:"
"All obtuse Angles are magically harmful to those unaware of this property. The same angles are beneficial, stimulating, and energizing to those who are magically sensitive to them."
--
According to the "Order of the Trapezoid - Statement", by Michael Aquino:
` ` In the December V/1970 _Cloven Hoof_ article, five literary sources for this principle (The Law of the Trapezoid) were identified: William Mortensen's _The Command to Look_, Louis McCarty's _The Great Pyramid Jeezeh_, Sheila Ostrander & Lynn Schroeder's _Psychic Discoveries Behind the Iron Curtain_ (Chapter 27), Frank Belknap Long's _The Hounds of Tindalos_, and H.P. Lovecraft's _The Haunter of the Dark_. ' '
--
LaVey expounded upon this Law of the Trapezoid in ann essay in The Devil's Notebook:
` ` We all react to what we see. Just as sounds and odors influence our behavior, so do visual patterns and shapes. Some make us feel good. Others disturb us. Whether you like to admit it or not, the fear response is the one most easily aroused. Since self-preservation is nature's highest law, fear motivates. Hence we give our attention first to sensory impressions that represent things that we once, far back in racial memory, feared. Fear is the prime mover.
...
What shapes intensify fear? Those whioch are overbearing, unbalanced, jagged, confusing. The reason a triangle or pyramid in its perfect form is pleasing, is because it is complete, like the imaginary vanishing points in drawings.
...
The most disturbing shape of all is a trapezoid in its myriad forms. A perfect trapezoid is a frustrated pyramid.In fact, the place where a pyramid or triangle is lopped off to make a trapezoid is actually called the frustum. A trapezoid says to the unconscious, "I am here, solid as can be, more massive than an ordinary block, but something is missing and it bothers you." Of course you know what's missing: a triangular top, like the one with the eye on the back of a dollar bill. Don't let that pyramid with a bright eye fool you. That's to draw your attention away from the real thing: the big trapezoid beneath it. All competant magicians are masters of misdirection and the Masons who designed the seal knew a thing or two.
...
Angles are space-planes that provoke anxiety -- that is, those not harmonious with natural visual orientation -- will engender aberrant behavior. Exceptions occur where a sort of reverse polarity exists in a creature: extreme mental imbalance or perversity, or perhaps even extreme rationality and awareness.
...
In 1962, I isolated my suppositions and distilled them into what I termed "The Law of the Trapezoid." I had ample evidence that spatial concepts were not only able to affect those involved in visual confrontations, but far more insidiously, other parties with whom a viwer cam in contact. As in any form of contagion, family, friends and co-workers are affected by signals of anxiety projected by another. The most tranquil and stoical person can be drawn into a chaotic situation if his surroundings are sufficiently disturbing. Often I discovered that subtle aberrations had a more profound effect than readily-recognizable and overt spatial distortions.
...
If the Law of the Trapezoid is known, recognized when applicable, and either heeded or utilized, it will save much hardship and tragedy, while still serving as a catalyst for change. Like fire, its powers are two-fold, depending on how it is applied. Like the sun, its powers are two-fold, depending on whether a thing is growing, grown, or dying. And like the first crystilline fusion of atoms, it will be the beginning and the end, the Alpha and the Omega of all matter. Avert your gaze from the pyramids, and look to the trapezoid, and you shall be moved. ' '
--
Shall i point out any of the similarities to these ideas in feng shui of applying cures to areas where chi does not flow freely?
...perhaps in another post...
And finally, let us consider...
The Command to Look
From the "Temple of Set Reading List" by Michael A. Aquino, here is a summary of _The Command to Look: A Formula for Picture Success_ by William Mortensen. San Francisco: Camera Craft Publishing Co., 1945 [originally published 1937].
` ` Although ostensibly a manual for the most enticing layout of photographic work, this small book was held by Anton LaVey to be among the most crucial for an appreciation of the artistic and audio/visual principles employed in the early Church of Satan and Order of the Trapezoid. It prescribes three elements for the CTL: impact, subject interest, and participation. It further suggests four types of visual patterns which contribute to the CTL: the diagonal, the S-curve, triangular combinations, and the dominant mass. In _Runes_ #IV-3/May XXI Magister Stephen Flowers reviews CTL in detail. Its principles were invariably utilized in Anton LaVey's own artwork [examples in #6M, #6N and _Satanis: The Devil's Mass_]. ' '
The Command To Look: The Story of William Mortensen, Part I, by Larry Lytle
The Command To Look: The Story of William Mortensen, Part II, by Larry Lytle
The Command To Look: The Story of William Mortensen, Part III, by Larry Lytle
William Mortensen: Index @ The Scream Online
William Mortensen: Gallery @ The Scream Online
William Mortensen: Photo Notes @ The Scream Online
William Mortensen: The Mortensen Pigment Process @ The Scream Online
--
And here are some files from the Occult Institute of Technology, concerning: Magic and Machines, The Law of the Trapezoid, the Area of Influence, The Command to Look, Tonal Angularity (Music That Kills), Where to Get Gear, Binaural beats, & the Lakhovsky Multi Wave Oscillator
This sort of theory further relates to other similar methods of marketing such as subliminal advertising.