The Elementalist Conception Of Time

As with many other philosophical questions, Elementalism has its own ideas about the question of time. Most people take it for granted that there is such a thing as time and that it just kind of ticks along. Upon thinking about it, though, things are no longer as straightforward. This essay explains the Elementalist conception of time.

Most people assume, as if naturally, that space and time exist and that we move around in them. Space is three dimensional (the x, y and z axes), and time adds another dimension of movement, so spacetime can be said to be the four-dimensional space in which we all live. We are born at one point in spacetime and, over the course of our lives, move through it.

This materialist conception of time brings with it a number of logical quandaries.

Quandaries such as: when did time begin? Time seems to run as an arrow flies, unstoppably from one point to the next, but when and how did it start? If time started some fourteen billion years ago, with the Big Bang, what happened before then? Did time exist? If not, how could the material universe possibly have started?

Is time an inherent property of the Universe or does it exist as the result of the will of some divine creator? If an inherent property of the Universe, what makes it progress at the speed it does, and not a greater or a lesser speed? Why progress at all? And – most frightening of all – if it begins and progresses then will it end?

All of these questions create a great number of logical dilemmas in the minds of materialists and non-Elementalists. But an Elementalist, who believes that consciousness is the prima materia and that it explores the Great Fractal to entertain the gods, has no such dilemmas.

To the Elementalist, time is an illusion. Simply put, it doesn’t exist. It’s an illusion brought about by the movement of consciousness through the Great Fractal at a certain rate. Because the perceptions that occur to consciousness appear to change in a rule-based manner, the impression is created that time exists and flows at a uniform rate. The reality is somewhat different.

The illusion of a moving picture, on film or on television, is made by displaying a number of frames every second (usually 25), in quick succession. If these frames are displayed rapidly enough, the image on the screen will appear like it is moving, an illusion known as beta movement. The images aren’t really moving – they just appear to, as if in a flipbook.

Our consciousnesses navigate the Great Fractal in a similar manner.

It sounds incredible, but the reality is that our perceptions cycle through a cosmically large number of static universes in extremely short order. Entire universes blink in and out of perception a such a speed that it feels like we’re moving through them fluidly. But in fact, this movement is no more fluid than that of a horse running in a motion video. It’s also an illusion.

The Great Fractal, in its unspeakably majestic, all-encompassing nature, is static. Because the fragment of consciousness that each of us possesses can only be aware of a tiny section of it, and because the tiny section that we are aware of keeps changing, it seems like time exists. And it does, in a sense. But not in the sense that most people are used to thinking of it.

In reality, there is only one ever-present and unchanging now, and consciousness exists there. In this eternal now, perceptions change, and that’s all that time is. The contents of consciousness are ever-changing, but consciousness itself is not, serving as an unwobbling pivot around which the entire drama of material existence unfolds.

This perception of time sounds entirely radical to the materialist mind, but for a Buddhist, a Taoist or a Hindu, everything written here so far is familiar. It has to be understood that the common Western perception of time follows naturally from the common Western assumption of materialism – and this assumption is neither accurate nor rational.

Dilemmas like the Grandfather Paradox are easily solved by the Elementalist. Not believing that time is one-dimensional, there is no “go back in time”. A world in which your grandfather lives and gives rise to one of your parents exists in the Great Fractal, and will always exist. Therefore, a life in which your grandfather gave rise to you is, and will forever be, lived by a fragment of consciousness somewhere in the Great Fractal.

Somewhere in the Great Fractal are worlds in which your grandfather is killed, but this doesn’t negate the fact that there are still an infinitude of worlds in which he was not killed. Therefore, you could kill your grandfather a million times and it wouldn’t change a thing. He would still exist in the Great Fractal, so consciousness would still be aware of him, and would still perceive lives in which he existed and gave rise to progeny.

Likewise, dilemmas about how time started and where it will end are easily resolved. To the Elementalist, there is only one eternal now, and in that now we navigate the Great Fractal. Knowing that time is an illusion, questions about how it started or where it will end are meaningless. Consciousness exists outside of time and is more fundamental than it. Therefore, time is a function of the contents of consciousness only.

In summary, Elementalists have an entirely different conception of time to that of the ordinary materialist. Not only do they not believe in time in the sense it is usually understood, but neither do they believe in any of the conclusions drawn by materialist philosophers of time. For the Elementalist, all these dilemmas really do have elemental solutions.


If you enjoyed reading this essay, you can get a compilation of the Best VJMP Essays and Articles of 2019 from Amazon for Kindle or Amazon for CreateSpace (for international readers), or TradeMe (for Kiwis). A compilation of the Best VJMP Essays and Articles of 2018 and the Best VJMP Essays and Articles of 2017 are also available.


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Clown World Chronicles: Who Is The ‘Doomer’?

The horrifying and seemingly hopeless nature of Clown World can easily lead to despair. As suicide rates climb all around the world, one member of the Clown World pantheon grows ever stronger. He is the Doomer, and his presence can be felt everywhere.

The Doomer cuts a depressing figure. His very appearance is doom. Sunken eyes peer out from a pallid, unshaven face, the expression on which is one of dread. A smouldering cigarette juts from his mouth – it should have been ashed five minutes ago but he isn’t paying attention. He looks extremely tired, the sort of tired where one needs to sleep but can’t.

His clothing, like his beanie, is black and grey, the colours of depression. The Doomer fears and is anxious for the future, but at the same time he is tormented by the fact that he doesn’t know why. He understands that he lives in a time of great material wealth, and feels guilt that it doesn’t bring him happiness. But deep in his heart, he knows that Clown World isn’t normal.

Clown World is the Doomer, and the Doomer is Clown World. He feels the pain and fear of the world acutely. The Doomer manifests in the expectation that everything in the world is about to get worse. His time comes in the great autumns of the world cycle. When the nights are warm and dark, the Doomer stalks the streets.

The Doomer is one of the Elder Gods, occupying the position beyond the Virgin on the Negative Masculine Axis. The essential nature of this axis is passivity – but where the Virgin is physically and socially passive, the Doomer is spiritually passive.

This spiritual passivity is not only the key to understanding the Doomer, but understanding Clown World itself. The Doomer is very much Clown World in microcosm. His suffering might seem overwhelming, but the grim truth – which he is unwilling to accept – is that most of it is self-inflicted. His own habits and his own moral failures have led him here.

The spiritual passivity of the Doomer has made him indifferent to his spiritual needs. The Doomer doesn’t meditate, because he can’t stand the noise in his head. Either he doesn’t use spiritual sacraments or he uses them irresponsibly. Most of the time he’s under the influence of pharmaceuticals or alcohol, or smoking something. Anything to numb the longing for a better world.

Nightwalking is the closest that the Doomer gets to a spiritual practice. This he does compulsively, as if an automaton, driven by a desperate need to escape his suffering. But in nightwalking he finds peace. Perhaps it is from intuiting the lesson of the streetlight: it’s forever meaningful to shine in the darkness, because a new dawn always comes.

This is one important facet of the Doomer: he contains within himself the seed to grow into a Bloomer, his exact opposite. The Doomer might be in pain, but that’s only because he cares enough to keep going. In that sense, the Doomer represents a flicker of light in every spiritual darkness. His spirit is more than just suffering – it’s also that which endures it.

As mentioned above, the Doomer is what a Virgin becomes if they continue along the Negative Masculine Axis, of which the Virgin is the Younger God. The most common path to doomerhood isn’t an extended spell of involuntary celibacy (i.e. it’s not merely extended virginity). When men become Doomers, it’s usually because they succeed in attracting a woman and establishing a romantic relationship – and then it collapses.

The Doomer is not created from a man who can’t get what he wants, but the reverse. Once a man gets what he wants, and finds that it isn’t sufficient to make him happy, he can become a Doomer. If a Virgin makes love to a beautiful woman and then the next morning realises that it didn’t solve any of his existential problems, he’s taken the first step to transitioning into a Doomer.

Doomers became numerous after the Great Financial Crisis, which could be argued to herald the descent into Clown World. It was in 2008 that an entire generation of men became faced with the reality that they would not enjoy the same easy lives that their fathers did. A few years after that, the doom had become widespread and permanent.

The solution for the Doomer is to develop spiritual strength, which will enable his will to correctly guide his mind and body to make the right moves. In doing so, he transitions onto the Positive Masculine Axis and becomes a Chad.


This article is an excerpt from Clown World Chronicles, a book about the insanity of life in the post-Industrial West. This is being compiled by Vince McLeod for an expected release in the middle of 2020.


If you enjoyed reading this essay, you can get a compilation of the Best VJMP Essays and Articles of 2019 from Amazon for Kindle or Amazon for CreateSpace (for international readers), or TradeMe (for Kiwis). A compilation of the Best VJMP Essays and Articles of 2018 and the Best VJMP Essays and Articles of 2017 are also available.


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Writing Characters Of Mercury

The second-highest element on the spiritual hierarchy is mercury. Being one level higher than silver, mercury is the realm a person enters when they are close to perfection. This is represented by the liquid nature of mercury, which reflects a great intensity of spiritual power. Metaphorically, this liquidity suggests that mercury is close to moving beyond the material.

The ancients considered Mercury to be the Messenger of the Gods. This reflects the fact that mercury is the closest to the divine element of gold. Mercury is the closet planet to the Sun, so the Sun shines on Mercury before it shines on anything else. Characters of mercury ought to be able to instill a sense of awe in the characters made of baser elements.

Like silver, mercury is lustrous. Unlike silver, mercury is a liquid at room temperature. This is why it was once known as quicksilver, or water-silver. Alchemically, this property of being a liquid suggests that silver has been quickened to reach the stage of mercury. It suggests that something extra has been added to mere silver, some invisible energy that has had visible effects, and which has transmuted that silver to a higher state.

This quickening is from where we get the term ‘mercurial’. The term mercurial is used to describe people whose behaviour is hard to predict. There’s a more precise meaning – people whose behaviour is hard to predict because they are more closely attuned to the Will of God than anyone else. The characters of mercury are semidivine.

The characteristic quality of mercury is genuine intelligence in the form of a divine spark. This is where it contrasts with silver. Although a character of silver might have a rudimentary intelligence, perhaps enough to give them an advantage over the characters of baser elements, characters of mercury are more intelligent still. They are easily able to perceive the weaknesses of characters of silver, let alone the lesser elements.

Characters of mercury are more intelligent than the others, but they are not always more humble. Although they can be megalomaniacal, they are not prone to the Conceit of Silver, on account of that they are too closely attuned to God’s will. A character of mercury will not resent someone greater than themselves, but will rather co-operate with that person as a way of drawing God’s energy into the world. This disinclination to fight presages the frequency of the characters of gold.

Reflecting this humility, characters of mercury have more compassion than characters of baser elements. They are rarely motivated by purely egoic concerns. Rather, they work to end the suffering of others around them, and as such serve as messengers of the gods by expressing the will of the divine.

However, not being perfect, characters of mercury are still vulnerable to any of the lusts, rages and arrogances of the baser elements. They are just much less likely to fall prey to such impulses, and, when they do, they make amends much more readily. As such, they are clearly more noble in nature than most other people, and they tend to get treated as such.

The big danger of the character of mercury is that their ambition can cause great suffering. Although a character of mercury would never torture someone like a character of iron would, and they wouldn’t steal from someone like a character of lead would, they are still capable of causing immense suffering. Alexander was a character of mercury, if anyone was – and his conquests left piles of bodies in their wake.

The example of Alexander mentioned above perhaps best exemplifies the essence of a character of mercury. Being so close to perfection, they are, in a sense, above being judged by normal men. Chararacters made of baser elements have trouble enough understanding characters of silver; characters of mercury are beyond their understanding. To these baser characters, the characters of mercury appear as forces of nature.

Hindu Yogis associate mercury with the third eye chakra. This chakra is itself associated with intuition and foresight. A character of mercury will have great foresight, being able to see into the metaphysical world. This grants them the ability to predict the future and to see into people’s souls. A character of mercury will have powers of perception that the baser elements may not even believe are possible.

These powers of perception distinguish them from characters of silver. Although a character of silver might be able to accumulate a great amount of knowledge and apply it to, for example, building a bridge, this knowledge is limited to knowledge of the physical world and the phenomena in it. The character of mercury can see into the metaphysical world – something that most other characters don’t even believe exists. As such, they are very much the one-eyed man in the kingdom of the blind.

The concept of a third eye relating to spiritual awakening gives away the essential nature of the character of mercury, which is someone who is almost enlightened. Although not perfect, their every action will be permeated with this greater illumination – which is precisely what makes them seem mercurial to the baser elements. Because the baser elements cannot see into the metaphysical world, they cannot understand why the characters of mercury make the decisions they do. Characters of mercury can easily appear mad to those of baser elements.

Characters of mercury are the sort of people who set the course of history. They can be found leading kingdoms and empires. A character of mercury is sufficiently impressive that even characters of silver feel awestruck in their presence. As such, they are capable of provoking immense resentment, as did Julius Caesar.

If your story involves a character of mercury, it’s feasible that resentment for them can provide the impetus for the plot. A character of silver might become envious and try to take them down, perhaps employing a character of iron to do so. A character of copper who serves as a priest, resenting the influence that a character of mercury has among the townsfolk, might assemble a mob to drive them out of town.

If not in politics, characters of mercury can be great artists or scientists. Here they distinguish themselves from characters of silver as genius distinguishes itself from mere brilliance. The characters of silver may be exceptionally skilled at applying methods and techniques to create a masterpiece, but only the characters of mercury have the power to create something truly original.

A modern representation of a character of mercury is William Shakespeare in the film Shakespeare in Love, or John Nash in A Beautiful Mind. Such characters clearly stand out from those around them, even if those around them are of silver or copper.

It’s very tempting to have a character of mercury as the protagonist of your story. Being genuinely intelligent, it’s easy to write a story in which they overcome the challenges placed before them. However, being already of the second-highest element, this leaves little room for the character to develop over the course of your story.

If a character of mercury serves as a minor character, it may be to enlighten your protagonist. Your protagonist might work in their service, or they might engage the character of mercury to teach them about some important issue. In either case, the character of mercury will likely be fundamental to the plot.


This article is from Viktor Hellman’s The Alchemy of Character Development, the sixth book in VJM Publishing’s Writing With Psychology series. This book will show you how to use alchemy to create deep, realistic and engaging characters for your creative fiction.


If you enjoyed reading this essay, you can get a compilation of the Best VJMP Essays and Articles of 2019 from Amazon for Kindle or Amazon for CreateSpace (for international readers), or TradeMe (for Kiwis). A compilation of the Best VJMP Essays and Articles of 2018 and the Best VJMP Essays and Articles of 2017 are also available.


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Clown World Chronicles: Who Is ‘Karen’?

Clown World, it is oft lamented, is beset by Karens. Middle-aged women with deep feelings of entitlement are making everyone’s lives harder, but there seem to be more and more of them as society decays further. These Karens are avatars of Karen herself, the Elder God of the Negative Feminine.

A Karen is typically a middle-aged woman with a fashionable haircut and aggressive clothing. She is demanding, aggressive, bossy and rude. She is seldom violent, but that’s precisely why she’s so terrifying – the damage she wreaks is in the invisible, metaphysical realm, and so is harder to defend against.

Retail workers, more than any other, fear the Karen. She will complain that her coffee wasn’t made right, and if you’re not apologetic enough she will ask to speak to the manager. Like a spoiled princess, the Karen thinks the world revolves around her, and she expects others to behave accordingly. A failure to do so is met with rage.

The nightmare scenario is to have a Karen as a boss or a wife. Her vanity is such that one cannot engage with her without becoming drained.

Karen is one of the Elder Gods. Her realm is the space beyond the Roastie on the negative feminine axis. The fundamental energy of the negative feminine is narcissism, and Karen shares with the Roastie a deep self-absorption. If a Roastie continues on her path of manipulating and self-obsessed attention whoring, she is liable to grow into becoming a Karen.

In Clown World terms, the Roastie transforms into a Karen once Chad is no longer interested in fucking her. Normally, by this stage, a healthy woman will have developed enough devotion to transition into a Waifu. The Karen has failed to do so. She is not devoted to a family – it’s still all about her.

The root cause of Karen’s shitty behaviour lies in her dismay that she doesn’t attract male attention like she used to. Instead of moving on gracefully, she exerts herself to remain the centre of attention. She hasn’t figured out that the attention she once received was a consequence of physical characteristics that are now irrecoverably lost. As such, she cuts a tragic and terrible figure.

None of this is to imply that Karen is despised. To the contrary, Karen is both feared and revered, much like the goddess Kali in the Hindu pantheon, and much like the Roastie who is her younger manifestation. Her good will is strenuously courted by the citizens of Clown World, who know that she is the favoured daughter of the Merchant.

A widespread belief holds that good fortune can be had by appeasing the Karen. After all, the majority of followers of the Clown World pantheon are young, and so they are likely to have Karens as managers. Karens are often promoted into managerial roles on account of that the company is often owned by the Merchant. This relationship is one of the Five Alliances of Pain.

The difference between the Karen and the Waifu is stark.

The Karen is fundamentally opposed to the Waifu, who is the Elder God of the Positive Feminine. The Waifu is the metaphysical representation of devotion, and as such is selfless. The Karen is the exact opposite. The Karen cannot find, or is unwilling to recognise, true rectitude. Absent rectitude, she has nothing to be devoted to. Absent devotion, she becomes something bestial.

The Karen is also fundamentally opposed to the easy-going Boomer, who is the Elder God of the Positive Masculine. The Boomer has demonstrated physical rectitude in his chadly youth, and now he demonstrates spiritual rectitude by going with the flow and not clinging to his desires. The Karen is the exact opposite here, too.

In summary, the Karen is a spirit that represents the energy of the divine feminine if it becomes twisted towards egotism as it ages. She is an almost demonic figure to anyone who becomes stuck with her, but can deliver great blessings of fortune to anyone manly enough to win her good favour.


This article is an excerpt from Clown World Chronicles, a book about the insanity of life in the post-Industrial West. This is being compiled by Vince McLeod for an expected release in the middle of 2020.


If you enjoyed reading this essay, you can get a compilation of the Best VJMP Essays and Articles of 2019 from Amazon for Kindle or Amazon for CreateSpace (for international readers), or TradeMe (for Kiwis). A compilation of the Best VJMP Essays and Articles of 2018 and the Best VJMP Essays and Articles of 2017 are also available.


If you would like to support our work in other ways, please consider subscribing to our SubscribeStar fund. Even better, buy any one of our books!