Reichmann believed these organism that crossed the fold where generated at the origin of all things, and continue to exist as part of an eternal backward and forward moving of creative and desrtuctive economy. He stops short of suggesting that these things are gods, but rather indicates they are a manifestation of certain conditions by which a general pushing and pulling was formed. These conditions generated the organism initially as single points of a pourous nature, which force allowed to be opened up, and a gap created inside, and purposes form the udder by which nourishment would eventually flow. He imagined everything formed simultaneously as a complete potential and growing system, with various apex points on which the entire system did then and would continue to depend as the system advanced and complexified. This offers the possibility for a grand maker, though he doesn't explore that explicitly. He speculates that there may be other sets of apex akin to the udder of the organism, and that there may be multiple folds in this infinite paper where conditions develop in different ways, and only through these apex points contributing and influencing occurances and exchange across the folds. One thing on which he is firm though about their nature; they are all generative in some way and rely on the existence of artists of some kind as having purposes in all of these locations. These artists may not be entities as ourselves, but rather, nodes of their own contexts of interactions with things not quite like them, but type-wise akin in form and their own points of origin. The nourishing act becomes ritualized by the necessities of what it needed; certain acts and types of acts are for effective in generating requirements, so, the come to the form and seem formalized. This serves a secondary purpose of artistry, or, through artistry we can become aware of the organic and mechanical functioning of purposefulness in this circumstance.

Amid the handwritten manuscript, i found many diagrams, often not obviously connected to adjoining text, but sometimes i think, merely not connected with a legend or scheme to how they more obviously might illustrate. One such collection of diagrams was composed of sets of symbols, some of which gave clues as to purpose. One series had a character that appeared to be a face. If i considered the rest as associated in this way to the one identifiable, i found all the other symbols seemed to represent the mouth in various positions of enunciaton and opening. I think, he was describing a series of phonetic sounds. I think, O, o ee, rr, ll, mm, and zzz. There were variations of some of them, which suggested to me multiple vocalists, distinguished as separate parts of a whole, and sounding the overal sound similar to others that maintained similar mouth part positions and shapes. The forms were drawn into boxes on graphs he had drawn, and they formed shapes and clusters. If i understood the orientations of up and down as being related to pitch, i could imagine, these shapes made with the symbolic elements, sometimes dozens nested together to make one form, i saw thay were like communities of sounds, or songs that formed a kind of organism, the various locations on the grpah of its parts also representing pitches and pitch relationships that represented the organism in space, and, in some diagrams, relationships of one shape to another. I speculate, these shapes might represent social activities and actions of entities across the fold, of which Reichmann was describing, in an attempt, through vocal and choral composition, to understand for himself, and speculate, as to the social life of these interdependent entities across the fold. I speculate further, was he attempting to, through these songs, trying to relate our own social activities and rituals to the functioning of the entities across the fold, using song to find the deeper ralations of of own worldly being to the interdependent ones we do not see...