"First he speeded up his internal biological clock so that his thoughts raced faster and faster; he 
felt himself rushing down the tunnel of linear time until his rate of movement along that axis was 
enormous. First, therefore, he saw vague floating colors...beyond this point he began to travel 
at the rate of the Upper Realm, so that the Lower Realm ceased to be something but became, instead, 
a process..."

Presently he picked up a book from the table and opened it. 
Inside the book he found, written there, his own thoughts, 
now in a printed form. The printed thoughts lay arranged 
along the time axis which had become spacial and the only 
axis along which motion was possible. He could see, as in 
a hologram, the different ages of his thoughts, the most 
recent ones being closest to the surface, the older ones 
lower and deeper in many successive layers. 

"He regarded the world outside him which now had become 
reduced to spare geometric shapes, squares mostly, 
and the Golden Rectangle as a doorway. 
....
Now, Emmanuel thought, I will change the universe that 
I have taken inside me. He regarded the geometric shapes 
and allowed them to fill up a little with matter...he saw 
accretional layers laminated together in sequence along the 
linear time axis"

"Now, Emmanuel thought, I will change the universe that I have taken inside me. He regarded the 
geometric shapes and allowed them to fill up a little with matter. Across from him the ratty blue 
couch that Elias prized began to warp away from plumb; its lines changed. He had taken away the 
causality that guided it and it stopped being a ratty blue couch with Kaff stains on it and became 
instead a Hepplewhite cabinet, with fine bone china plates and cups and saucers behind its doors."

"He restored a certain measure of time-and saw Elias Tate come and go about the room, enter 
and leave; he saw accretional layers laminated together in sequence along the linear time axis. The 
Hepplewhite cupboard remained for a short series of layers; it held its passive or off or rest mode, 
and then it was whisked over into its active or on or motion, mode and joined the permanent world 
of the phylogons, participating now in all those of its class that had come before. In his projected 
world brain the Hepplewhite cabinet, and its bone china pieces, became incorporated into true reality 
forever. It would now undergo no more changes, and no one would see it but he. It was, to 
everyone else, in the past."

"That which was below, his own brain, the microcosm, 
had become the macrocosm, and, inside him as microcosm 
now, he contained the macrocosm, which is to say, what 
is above."

"I now occupy the entire universe, Emmanuel realized; 
I am now everywhere equally. Therefore I have become 
Adam Kadmon, the First Man. Motion along the three 
spacial axes was impossible for him because he was 
already wherever he wished to go. The only motion 
possible for him or for changing reality lay along 
the temporal axis; he sat contemplating the world 
of the phylogons, billions of them in process, 
continually growing and completing themselves, driven 
by the dialectic that underlay all transformation. 
It pleased him; the sight of the interconnected 
network of  phylogons  was beautiful to behold. 
This was the kosmos of Pythagorias, the harmonious 
fitting-together of all things, each in its right way 
and each imperishable." 

Fairchild states, "One of the things [PKD] saw he labeled phylogons. 
This is Phil's term for the Forms of the macrometasomakosmos that get 
morphologically arranged conceptually. The phylogons are permanent and 
accrete new layers. The phenomenal flux world, the world we normally see, 
is being converted into a conceptually arranged structure, being accreted 
into the macrometasomakosmos, laminating down in successive waves. 
PhilÕs term for what gets accreted is ontogons. These are non-permanent.
 
And here he directly quotes PKD's letters:

"The billions of phylogons are crosslinked to form a unitary reality 
which is Pythagoras' kosmos, 'the harmonious fitting-together of the 
beautiful,' a vast structure that is sentient, that assimilates its 
environment selectively, using the ... universe as a supply of parts." (p.13)"

"I believe that they are conceptually arranged; that is, in terms 
of meaning. They have the same necessary relationship to one 
another that logical truths or mathematical propositions have to one another." (p.116)

Boundary Crossing Flow in Stack Form

Classic flow is represented by a meandering river that crosses the interior of a phylogon. Phylogon boundaries are defined by the interruption of flow. The river landscape, a metaphor for flowing thought, is often shown as disjoint piecessince mental activity is not normally a continuous flow. A typical thought sequence is really a stack of ideas, problems, reflections, desires, and emotions. Flow may be mapped vertically thorough the moment or traced into the next moment. How closely the river lines up between phylogons indicates the degree of harmony or discord in the jump. As an upper limit, a phylogon representation of meditation to the point of liberation might be represented by a single unbound phylogon filled with an image of a still pond. Reality acrobats attempt to maintain continuity; or, if unsuccessful, they surf the flow across the interruption.