October – November 1979
In 3-74 Dick was restored as Adam Kadmon, one of the first entities who came into being in the Kabbalah, a man filling the entire universe, subject = object and microcosm = macrocosm. Dick compares the spatial reality created by the two systems of intersecting information to the music, and similar non-temporal reality, Beethoven created. He relates the expansive music to Paracelsus’s inner firmament, and Beethoven’s music is another trigger for the transfiguration that will free us from the BIP.
Memory is converted into a spatial volume, which is what he experienced as the world of Acts in 3-74. The hologram (reality) is created from this space, not time, so what we have is layer upon layer of the past.
Beethoven’s music was politically subversive because it expanded the mind of the individual. Dick’s writing is politically subversive because he explores the inner space, much like the psychedelic movement of the 1960s. He hopes his writing can help others expand their inner space and break through into absolute space, just as Adam Kadmon. Beethoven’s music can free us and show us there is a world outside, a lot like the one portrayed in Ubik and A Maze of Death.
He says the Christian universe is its own universe, a compressed, 2000-year span that starts with the death of Christ and ends with his return. In trying to understand the connection between that universe and ours he hits on relativity where the events of that universe viewed here (or by him in 3-74) would fly by in a blur. More importantly, in 3-74, when he slowed down and was in phase with that Christian world, our world “sped up.” And in that moment he was able to discern Valis, no longer camouflaged in its environment. When this happened to him his present “stretched out millions of years.” He says this is the opposite of drug intoxication where you get smaller and the world gets bigger, and instead in this enlightenment you grow to fill up time and space.