This book presents readers with a special challenge, as it constitutes a nonstandard method of self-narration. We contend that the first-person perspective is critically limited to self-conscious narration. Let me explain. When you read from the "first-person perspective", the character is somehow already aware that they are a storytelling agent and have an audience watching, listening for their own story to...unravel. Whether overtly or tacitly, the first-person character always addresses an audience in their narration. In the physical world, however, this dualistic situation is logically impossible, and for extremely elementary reasons. If someone is physically alone (i.e., a character sequestered in a room, taking a mushroom trip), their thoughts and feelings cannot be directly transmitted to an ambient audience, unless that audience occupies the same physical space. Otherwise, one is inserting a metaphysical hyperspace in which to ambiently repose physical spaces (including audiences) as codomains and characters as operators. Whether or not the modern world acknowledges this anciently known truth and mathematical fact, Metaphysics is the most comprehensive and fundamental of all theoretical methods of cognition. And when Metaphysics is ignored in first-person narration, the multi-layered logical relationship between audience and character cannot establish, resulting in a bizarre situation where an audience closely looms over a character, without being able to perforate that character’s truly intimate mental activities...because these very activities are intrinsically nonlinear and pre-verbal. The character must linearize their expressions for the audience to quickly process them and move smoothly through the story. The narrating character emits only the expressions that are naturally understandable to an audience! Accordingly, any dynamical nonlinear mental expressions unique to a human character are either linearized (simplified) for an audience to naturally understand them, or they are entirely excluded from the narration for want of a nonlinear narrative method to controllably communicate them. The first-person perspective either denatures or entirely bypasses the nonlinear cognitive dynamics of a human character, which is unacceptable for a species with such intricate nonlinear functionality.
Instead, the first-person character expresses direct perceptions, or linearized expressions of cognition. Hardly ever are the nonlinear cognitive dynamics directly expressed. They are deemed chaotic, irreplicable, incoherent, or “too rapid” to capture in static linguistic sentences. What we need, then, is an extended method of expressing dynamical mental feedback. The first-person perspective is pervasively perceptual for the purpose of easing audience communication and story development, and hence, this method prioritizes stability, linearity, and locality. Chaos, interference, and adaptation are regarded as transient disruptions of the delicate first-person flow. When perceptually narrating, the character emits linear, stepwise sentences (i.e., "I am feeling...", "It's time for me to..." "It looks like...", "I do...", "I...", and on and on). What this book, Incessance, introduces is a metaphysical generalization of the first-person perspective which attempts to genuinely and specifically communicate the nonlinear levels of human cognition. As mentioned, we call this extended (ad)vantage point...the field-person perspective. Understandably, there are considerable growing pains involved in the initial attempts to "ingest" this cryptically chaotic narration. Please read the introductory statements very closely. If they do not intrigue you sufficiently to undergo the growing pains, then...this book is simply inutile to you. In fact, this book can be treated as a long-form entheogenic trip report by a philosophical genius undergoing severe depression.