Tuesday, December 12, 2017

Evidence - Out of the Corner of My Eye

Here I am talking to you, excited and delighted, yet never do I forget for one moment there is an unfinished story waiting for me indoors.  I see a cloud shaped like a grand piano.  I think: I must mention in a story somewhere that a cloud went by shaped like a grand piano.  I smell heliotrope.  I say to myself: sickly smell, mourning shade, must be mentioned in describing a summer evening.  I lie in wait for each phrase, for each work that falls from my lips or yours and hasten to lock all these words and phrases away in my literary storeroom.  They may come in handy one day.

Trigorin, The Seagull, Anton Chekhov

We see faces in everything - in clouds, in rocks, in trees, in buildings.  We have evolved to see faces in things: those of us who could made out the leopard amongst the leaves; those of us who couldn’t didn’t make it this far. We see faces and we see spirits.  More rigorous occultists will dismiss such inanities as Jesus in a Taco, yet those self-same occultists might congratulate themselves on conjuring to full appearance when they see a face in the smoke of their incense?  To what extent should we use pareidolia to dismiss or justify esoteric experiences; how do we determine when seeing a face constitutes evidence of a spirit?

There’s an exercise bike in my bedroom that has curved handlebars that look exactly like the horns of some baleful demon when seen from the corner of my eye.  I should move it, why haven’t I moved it, why do I let it linger and haunt my dreams?!  Sometimes I move my head, or blink and catch some sign of movement and turning closely to examine I see that it is only some reflection on the floor or door that moves when I move my neck – optics and not spirits at work, I reassure myself.  Sometimes the juxtaposition of objects in 3d space reveals a haunting image when glanced at as 2d and my mind is more than capable of filling in for a presence as well, if the space lacked one of its own.

A long time ago, in an English village far away, I found myself in a freezing haunted attic staring at the bloody imprint of a face in the wall.  The house was haunted, legend had it that the master had raped and murdered a maid in the attic, and, so it goes, this face-like red-brown smudge on the wall was evidence of his/her presence.  True, people had tried to paint over the smudge several times, but the face always returned – insidious damp or vengeful spirit?  Not one to be wary of such things in those days I attempted a banishing (of sorts) with my friends.  We played the Beatles to the spirit and beamed limitless love and forgiveness into it, then wished it farewell with a rousing chorus of Strawberry Fields Forever.  The face faded, over a few weeks, but it did fade.  Successful banishing or the meeting of hearsay, hysteria, early winter, pareidolia and mould cycles?

In spite of these doubts and concerns I am not ‘’debunking’’ this form of manifestation, I am attempting to review evidence of spirits like this in order to explore the temporal entanglement model.  Spirit work generates all kinds of associated phenomena that we will review and at times pareidolia is a legitimate form/recognition of interaction.  Sure, I can randomly see a dragon in the clouds, light streaming through it, but I can also see a dragon in the clouds after summoning a draconian entity.  Coincidence, forcing myself to see something that isn’t there, or genuine manifestation?  Or, conversely, was that random dragon all that random in the first place?  Was a draconian entity, somewhen, summoning me?

I have a feeling that one of the effects of temporal entanglement is the imprint of one time on another time and these imprints show up in the arrangement of things.  For instance lets suppose an impressively head dressed magician conjures me from somewhere in the past – they may remote view my room from there (and it would seem alien), they may rifle through my mind learning things that they couldn’t have known, the future for example, and my dream self, my cloud self could send them back all kinds of visions, communications that little [dog name ego] me is blissfully unaware of and all I may see on this end of the temporal spectrum, evidence of his imprint, is that demonic exercise bike – just taunting me.  

Beyond life, there are – his face grew ashen with terror - things that I cannot distinguish.  They move slowly through angles.  They have no bodies and they move slowly through outrageous angles… God they are breaking through!  They are breaking through!  Smoke is pouring in from the corners of the wall.  Their tongues… - ahhh!

The Hounds of Tindalos, Frank Belknap Long

Monday, December 4, 2017

The Life Magickal - Aims and Intentions

Hello, hello, baby
You called, I can't hear a thing.
I have got no service
In the club, you see, see
Wha-wha-what did you say?
Oh, you're breaking up on me
Sorry I cannot hear you,
I'm kinda busy.

Telephone, Lady Gaga

I have long been dissatisfied with the abundance of hazy terminology to denote different classes of spiritual entities (elementals, kings, angels, demons, daimones, archons, fae, saints, djinn, aliens, background people, time cops, etc) - these may all have great names that help to keep the wheels of publishing grinding but they are contained in a painfully weak zoology. Similarly I dislike the notions of a ''spiritual'' ''otherworld'' behind some kind of membrane where we talk to spirits like convicts behind plexiglass on prison phones and I think there are other ways to rationalise and describe these and other experiences. Occultists have surrendered attempts at unification, embraced woolliness and the scientific spirit that once animated us feels like it is dying or dead. Can we construct a unifying theosophy which is a little more robust?

In the aftermath of the 231 Gates Project, Raziel's information on time travel has ''decentralised'' magic for me by removing the magician as the active cause [presentism] and asking me to look at all phenomena as being entangled through time [eternalism].  He introduced me to such ideas as: a determined sandbox pocket universe; pinch-points;  an ''astral past''; the time traveller swarm; daughter universes; genetic dimensions; that most of infinity is uninhabitable.  In Fourteen Minotaurs he introduced me to a new way of viewing synchronicities and the navigation thereof changing my perception of magic forever.  In Some General Theory I outlined a new way of classifying spiritual entities and this kind of thinking will lay the groundwork for an esoteric worldview where we only have entities of one type across time, that humans are the same [spiritual] species as the others and all share ''DNA'' - an esoteric genetics, if you like.    In One Hundred and One Pieces of Mind Man Trivia I looked at the idea of the astral plane as a place of shared memories versus a stream of shared memories that are actually our conscious experience going back through time [or history...], a reversiverse - and I will continue to explore the structure/mechanics of the astral plane in this new project.

What am I doing? I'm talking to a blank telephone because there is a dead man on the other end of this fucking line.

Neil McCauley, Heat

Moving forward requires consolidating all the work on time travel into one coherent testable hypothesis which unifies all spirit(s) through time. The hard form of this hypothesis will try to explain all spiritual communication as direct conscious temporal entanglement with an entity at a different point in time, the soft form will allow for communication to be occurring between them via  interaction on a subconscious/superconscious ''dream'' level.  For example when I conjure Osiris and he gives me information a) the hard form would see him near consciously providing answers as if on the other side of a telephone - my act of ''magic'' is directly entangled with his and instead of one being a god and one being a mortal in two different worlds/planes we are simply two magicians interacting across time (or rather, within history)  or b) the soft form that I would be entangling with his dreams (or other parts of his mind) and the provision of information is happening without his conscious knowledge, similarly other entities may tap into my dreams or subconscious and tap my ''wisdom''* - learning things they ''couldn't possibly have known'' and feeling like it has come from a ''spirit''.  Raziel has dismissed the ideas that spirits do magic which ''cause'' things to happen but the [potential] energy/information exchange from entanglement could provide the ''oomph'' which causes universes to diverge at ''robust branching moments'', these points already established in the/our ''surviving histories'' i.e. within the finite set of variant selves which have ended up in ''coherent'' universes.

  • During my Tower work I communicated with Edward Kelley using the Time Phone and also streamed the Enochian Calls back to him from the future - from my perspective Edward Kelley would seem to be a ghost, but from his perspective was I a ghost or even an Angel?  At times conversations felt direct and at other times they felt like we were interacting through dreams - what is the true nature of the separating membrane?
  • The role of language in the efficacy of communication particularly with ancient spirits and ''elementals'' - how do you ''talk'' to a hatchet fish in an ancient ocean?  Do my interactions with Sumerian deities improve if I speak Sumerian?
  • The role of visions/dreams in communication with spirits and whether symbolic or emotional communication skips the need for shared language - this seems to support the soft form?
  • The role of the ''HGA'' as the trans-temporal spirit and whether other spirits could be classed as trans-temporal (hypercosmic? Gods)?
  • Are ''aliens'' interstellar, inter-dimensional or trans-temporal?  Although space appears to be ''out there'' is it in anyway actually playable or simply the background art of a much smaller pocket universe both in time and space?
  • Are Angels A.I.?
These and more questions will be generated, discussed and practically investigated and I will give myself a time table of one year to present some kind of metathesis on this.  I will summarize key points from the extant work with Raziel and provide one document to my readers at the end.  If anybody would like to get involved I will provide a monthly update specifically relating to this along the way and if people want to test the same theories via experiment I would be pleased to hear from you.  Before the New Year I will have condensed the above into some kind of more or less coherent hypothesis (which can of course be tested and revised) and as discussed/established in the previous post I will work closely with Raziel, Enlil and Inanna, communicating with the former monthly and propitiating the latter weekly - in this we will assume/see Enlil and Inanna as the actual people the Gods were based on [intra-temporal] and Raziel as the effective HGA [trans-temporal].  Other spirits will be contacted as necessary.

Stop callin', stop callin',
I don't wanna think anymore,
I left my head and my heart on the dance floor
Stop callin', stop callin'
I don't wanna think anymore,
I left my head and my heart on the dance floor. 

Telephone, Lady Gaga

*There was an experience of this in the ''Mantis contact?'', a sense of being rifled through - how much of that is going on constantly?

Thursday, November 30, 2017

The Life Magickal - Gods

In The Life Magickal I talked about how my metaphysical adventures were always superior when I was under the auspices of one of the two Gods that I have devoted myself to and I want to reflect on some specifics about their influences and consider the possibility of new partnerships as I renew the aim and spirit of my work. 

Looking through the Blogos I think you would consider me a disciple of Thoth or Hermes but my experiences with the Gods have been, at first glance, quite out of that character. After I finished university I returned home to the Midlands as I had nowhere else to go, my girlfriend at the time, who was Spanish, returned to Madrid.  Our relationship could not last the long distance and the breakup devastated me.  In the aftermath I took a long hard look at where I was in the grand scheme of ''initiation'', felt that I was ''in Hod'' and accepted that I still had a lot to learn.  In the thinking of that time I opened the ''Sphere of Netzach'' with an evocation of Aphrodite and began what was to become seven years of work with her, where she was the only deity in my life.*  I've discussed the details of these experiences before but, to reiterate, one of the most important lessons I learned was how to devote - it was this devotion that allowed me to complete my 5 year study of the Sefer Yetzirah and not flake out.  Its a lesson that I have applied to many areas of my life since then and the perfect remedy for ''Mercurial'' procrastination - she teaches you to love, to desire, to obsess, to be present, to commit, to serve and to control - all of these capacities Aphrodite brought into my life, whilst purging me of jealousy, and bound them to the arts magickal.  When I began working with her, she appeared in very classical form but as I got to know her and saw past my preconceptions, she was revealed to be much more ancient and more alien than I first imagined.  Now seeing her as the daughter of Cronos' assault on Uranus her impact on the direction of my work in time travel can't be understated - why do you have to castrate block time in order to create linear time?   What does it mean to be the personification of that castration?  During the 231 Gates Project one of the (Venus) rituals involved opening a conduit through time to return/restore a ''lost love'' but unfortunately the details of these rituals had to removed from the blog for safety**.''The Venus Current'', if you like, has been psychically clamouring for more attention and currently I am torn between deities - Hathor and Inanna - or perhaps she is torn between forms (? - if the fanatics in my audience will excuse my soft polytheism), but regardless, the choice will be important as I move on, whoever has to finally make it.

Enlil, on the other hand, chose me.  I had been invited to join the group Gentlemen for Jupiter, a set of magicians who were all working prosperity magic together, the so-called ''Jupiter Current'', and after my first ritual toast I decided to astrally project to scout things out on that giant gas planet.  I found myself heading towards the great storm on Jupiter and was sucked into the eye whereupon I passed out.  When I woke a voice in my head was saying ''Kish, Kish, Kish...'' and then once ''Sargon.'' This started some research that lead me to Enlil and his direction of the Jupiter current (as opposed to other members who were more involved with Jupiter/Zeus) has had a huge impact on my life.  Considering how his qualities dovetail with a renewed aim and purpose, he is the Master of the Tablets of Destiny, whose commands are unalterable and therefore his assistance in understanding myself as a time traveller within block time is probably going to be highly advantageous.

Together the ''currents'' of Venus and Jupiter under the stewardship of Aphrodite and Enlil and their corresponding influence on my magic (devotion and prosperity) have bound me to what used to be known as the Right Hand Path or the Pillar of Mercy in QBL - the forces of expansion, bliss, abundance and expression.  We can understand both of them in the way they relate to Cronos - Aphrodite as the product of his assault on Uranus, Zeus as Cronos' own conqueror. I began this post, or at least the thinking behind it, assuming that moving forward would automatically necessitate a relationship with a God of Magic or a God of Time but as I air these thoughts and dwell on how much pressure I have been under from ''Venus'' I begin to doubt this necessity.  Perhaps, with Love and Lightning, I have all the allies I need.

I know, I alone,
How much it hurts, this heart
With no faith nor law,
Nor melody nor thought.
Only I, only I
And none of this can I say,
Because feeling is like the sky -
Seen, nothing in it to see.

I know, I alone, Fernando Pessoa

*I worked extensively with Angels (therefore of Enlil, Ellil, El, etc - so technically the other God was involved already) and letter-spirits.
**The love that I had known in the Tower was restored though, the ritual suceeded.

Monday, November 20, 2017

The Life Magickal

In answering the question what is magic for me right now? and to re-establish creative limitations I need to reflect on what magic was for me then and how/why that has changed over time.  Building upon Phantom Time I would say that my esoteric work was less affected by or conflated with other subjects during two periods - The Sefer Yetzirah Study which ran from 2001 - 2006 and the Gentlemen for Jupiter and Edward Kelley's Tower phase from 2011- 2014.

During the Sefer Yetzirah Study my life was almost entirely focused on theory and practice of Qabalah.  A typical day would be spent ''reading'' the Sefer Yetzirah, conjuring archangels, researching/meditating on letters and pathwalking.  Supporting reading was mainly in sciences - biopsychology and endocrinology specifically - but all of it was tied back to Qabalah and understanding how the letters of the Alefbeit manifest in the world.  Pathwalking was a process by which I and others in the group would conjure the letter itself on to and sanctify an actual physical path and then walk along it communing with the spirit of the letter through the phenomena it ''caused''.

My main focus during the intermediary period of 2007-2010 was catching up on a lot of reading in philosophy, history and literature that I hadn't completed because I was training to be a biochemist. I was also reintroducing theatre into my life - as a teacher and as a professional actor.  Although magick was still a very important part of what I did it was definitely playing second fiddle.  My motivation for a lot of the reading - Plato, Iamblichus, history of ancient civilizations, etc - was in order to get a better grasp of [the roots of] magick but I can't say I was a pure magician during this time as much as I was an aspiring Renaissance intellectual thespian, a fine but important line that I had crossed, now way more Marlowe than Fludd.

During the Gentlemen for Jupiter and Edward Kelley's Tower phase theatre was blended with magick for the most part such that nearly every play I wrote, directed or acted in was an active study and conjuring of Jupiterian themes - theatrical rituals where magick was central.  Other planetary forces were also conjured and when I moved into the Tower the focus moved towards Venus and Mercury.  Having residency there I considered it my duty to continue serious magickal research and Saturn began to dominate when the work culminated in the various ''time travel'' experiments of the 231 Gates Project and the conjuring of a variety of ''spirits'' - elementals, demons, ghosts, angels, Enochian entities et al - in support of this.

The period after 2014 - 2017 saw a somewhat necessary dip in magickal endeavours due to the recovery time necessary after sanity testing experiences in the Tower.  My experiences were/have been mainly limited to astral projection, planetary theatrical ritual, prosperity magick, metaphysical research and the continuing dialogue with Raziel.  I have made a series of real world presentations on the Metabolism of Time and have gathered a small group of students for continuing the tradition.  My non-magickal theatrical and acting endeavours have increased as a result of the prosperity work.

In comparing the Life Magickal with the Life Theatrical or Intellectual during the Sefer Yetzirah Study phase there were a lot less people involved in my life: my job(s) afforded me a great deal of private personal study time; my second University degree was spent in relative social isolation with a lot of communion with nature during pathwalking experiments; I was single-ish but with a series of excellent muses.  During the intermediary phase where my magickal pursuits dipped a little I was surrounded by well-educated, well-travelled people (students and teachers) in a different country and I ended up in an intellectual arms race.  Social pressure from colleagues definitely skewed my reading and philosophy and although I am not decrying that influence they are one of the main reasons that magick lost its centrality.   The role of social pressure in rewarding various types of transactions and punishing others (alongside the naturally daunting subject matter itself) is one of the reasons why magick has been so heavily conflated with other topics in our international community.  Magick regained its centrality when I integrated it with the new subjects and/or knowledge when they were harnessed or digested if you like but not when I pretended something else was in fact magick.

Another important influence has been the Gods - the two phases that were dominated by magickal work were also dominated by Gods - in the SY study phase I worked incredibly closely with Aphrodite and in the G4J/Tower phase with Enlil.  Both times I used Liber Astarte vel Berylli to fully bond with them.  Having that relationship front and centre was so essential to the success of my magickal aims it is something I have to consider as I renew the direction of my work.

The final point that comes to mind now is the target itself - during SY study the aim was clear, once that was finished I was left a little adrift until the G4J whose own target was perhaps too ambitious for many of the Gentlemen to complete and which for me was eventually subsumed by the challenges presented by life in the tower.  Although I have been focused and stayed relatively on topic (time travel) in the aftermath I haven't ever clearly stated my aim and my conversations with Raziel and astral explorations have been way more haphazard than I would like.


- reduce number of extraneous people
- establish strong relationship with chosen God
- clearly define aim

I am going to leave this here for now and while the first point is easy to achieve, I will explore the tricky thinking behind and my problems with the last two in the next couple of posts as a way of clearing my thoughts on this. 

Tuesday, November 14, 2017

Phantom Time

I have of late, but wherefore I know not, lost all my mirth, forgone all customs of exercise; and indeed it goes so heavily with my disposition; that this goodly frame the earth, seems to me a sterile promontory; this most excellent canopy the air, look you, this brave o'er hanging firmament, this majestical roof, fretted with golden fire: why it appeareth no other thing to me than a foul and pestilent congregation of vapours.

Hamlet, William Shakespeare

I first engaged with conspiracy theory in the aftermath of 9/11 and I rapidly encountered chemtrails.  After a very cursory reading of the topic this neophyte decided that he wouldn't dive deeply into it as he was sure that he would get lost and go insane - seven years later, after mooching around in lesser conspiracies, I dived in anyway.  Cue: holographic planes; alien orbs; mass governmental sterilisation programmes; sky-bound Faraday cages to thwart solar storms ''human cost be damned''; etc - the chemtrail conspiracy is a paranoid's dream.   I learned all kinds of things about how we know mass aviation is destroying the atmosphere - global dimming for example - and thought about how often conspiracy theory obfuscates real problems. Back in 2008 when I became a ''chemtard'' I had played Horatio in a production of Hamlet and a line from Rosencrantz had been haunting me (along with the spectre of chemtrails) since then - ''to think, my lord, if you delight not in man what lenten entertainment the players shall recieve from you'' - and suddenly it dawned on me, I was and had been depressed this whole time.  Sure I had powered through life with my hypomaniacal blend of enthusiasm and pure will but inside I had been fairly miserable - the sky had become for me a foul and pestilent congregation of vapours; I had used the theory to externalise my depression.  When I came to understand this the clouds didn't lift, the planes didn't suddenly stop ''spraying'', and I am not saying there is no truth to chemtrails, but I did realise that the apocalypse is personal, global, ongoing, wherever, whenever and whoever you may be.  The seeds of this fatalism bore fruit with my journey and residency at Edward Kelley's Tower and in the subsequent dialogue with Raziel on the nature of time-travel; in submission to destiny a great portal of new freedom suddenly seemed to open in a way that I hadn't yet conceived.

I came across the Phantom Time Hypothesis in the aftermath of the discombobulating ''What year is this?'' in Twin Peaks - the Return. Half conspiracy, half alternative history - phantom time suggests  that someone has inserted 300ish years into the calendar and that the dark ages never actually happened - by this theory it is 1720.  I got a little worried about this extra time, I mean even if we added a bit of spectral time in there it could mean this is 2011 and we didn't miss the apocalypse!  I got my sister to ask some spirits and they said it was actually 1987 although I haven't found the time or courage to corroborate them at the moment.  Returning to chemtrails and the externalisation of depression, I feel that in coming across the notion of phantom time it is now worth reflecting beforehand on how that (chance encounter, fixation, obsession) is an externalisation of something going on within me or within people around me, spiritually or otherwise. 

There is time that has passed that I may think has been in the development of myself as a magician but in reality have I been avoiding her - dressing her up as ''being an ethical individual'' or ''figuring out secret government programs'' as opposed to systematically exploring her mysteries?  Have my so-called decades of work in the esoteric arts in fact been meagre years?  Have I padded out my studies by including a number of things that aren't really magick?  There is a kind of casual/lazy ''Thelemic'' definition of magick which is basically whatever you want it to mean and there are various extreme positions held in the grimoire niches by venomous rogues which are definitely magick but might be too exclusive.  That said I think there is a difference between being a conspiracy theorist who studies a bit of magick and a magician who studies a bit of conspiracy theory; the same with identity politics for people who equate their activism/rants on social media with actually being a magician. In the final analysis it comes down to time spent - if you are spending the vast majority of your time researching different conspiracy theories or ranting about identity politics/saving the world from injustice then you're only dabbling in magic at best... With the extent of the challenges to personal identity in magick I could say acting was a magickal pursuit but when you dress magic up as something other than she is then you are only spending phantom time with your true muse.  I think we often like to pretend magick is this, that or something else because the realities of magical research and practise are actually more frightening, more demanding, and more exhausting.  In the years I have been writing and engaging with people I have lost track of the number of posts I have seen in the blogosphere that were actually about other (at least what I consider) extraneous offtopics, and I can count the number of detailed accounts of theory, practice and results on, excusing my hyperbole, just over one hand.  Some people do magic and just can't/don't want to talk about it (or just want to charge you for it) but some people, including myself at times, have clearly, at least to me, conflated her with other things. This disinclination and the (subconscious) need to escape through conflation can emerge from any number of possible sources but here are a few:

  • For sorcerers who are all about results, reluctance to write about or do is wrapped up with pride either not wanting to (be seen to) brag or actually succeed (self-sabotage), not wanting to seem inadequate, or not wanting to try because failure would be too much
  • For mages who are more about theory their theory is often so mingled with their personal identity that they are afraid of writing about/testing because of being judged or having someone/their results destabilise their already limited grip on reality
  • For wizards who are more about experiences the fact that those experiences are beyond words and the theories, methods are impossible to try/write up because logic/language fails or the sheer insanity of it all glares through

In attempting a more rigorous definition of what doing magick or magickal research constitutes I hope to avoid padding my own studies with phantom time.  Interdisciplinary and comparative work (with medical science, psychology, history, the arts, etc) is very important but when they displace the focus and are no longer magick I will rein myself in.    Certain theatrical ritual(s) is/are clearly designed and deployed as a magick act, others are not - same with conspiracy research, politics, day-dreaming, meditation, philosophy, etc.  This is not really a ''what is magick?'' question as it is ''what is magick for me right now?'' - I know that the lines between areas of knowledge are nebulous and they will vary between individuals but I think its important to (re)establish and narrow these boundaries for personal disciplinary and creative reasons.  In answering the four fundamental questions (who I am, where I am, when I am and why I am) Phantom Time has introduced a wonderful new element of doubt for me to explore but regardless of what year this is, the clock is still ticking and extraneous knowledge and spurious activity are ever present distractions from my magickal goals.

Don't clap too loudly, it's a very old world.

The Player, Rosencrantz and Guildenstern are Dead

Wednesday, November 8, 2017

Stranger Things 2 - Hermes/Mercury

Like Twin Peaks - The Return, Stranger Things 2 is also saturated by very specific obvious esoteric references and is using an identical method of execution i.e. painting by numbers.  As the Secret Sun blog pointed out the whole show is dripping in orange (backdrops, costumes, lighting design, our new Max character, etc) which to me immediately suggests the number 8 (in Ep. 1 we meet a character marked as Eight), Hod (in Ep. 7 a giant orange 8 appears) and the God Hermes/Mercury.

Watching fairly closely the entire show is a ritual to Hermes/ Mercury - alchemically speaking the quicksilver will be extracted from its orange ore.  Hermes/Mercury is the Patron of athletes, boysherdsmen, hospitality, thieves, tricksters, gamescommunicationscientists, doctors, magicians and although we see all of these themes explored in the show the primary focus is on his role as the Guardian of the Soul through the Underworld, Crossroads, Thresholds/Boundaries and the Promethean aspects of Fire.  Scenes which may have seemed extraneous to the less Qabalistically inclined are there to feather the God and are used in the same way that someone might put Mercurial related objects on a Mercurial altar.


Below is a list of specific examples of where we see these features:

  • Athletics - there are a number of athletic scenes, the basketball playing and the shower room scene
  • Hospitality - we see the theme of hospitality twice a) the motel room and b) the conspiracy theorist's house
  • Theft - Explored in the faintly ridiculous punk robbers ensemble; stealing money from sister to play arcade games; stealing car of older brother
  • Trickery - When Nancy and Jonathan use their guile to trick the head doctor to revealing himself on tape
  • Games - the arcade scenes
  • Communication - the endless use of walkie talkies
  • Magic - in the psychic powers of Eight and Eleven
  • Herdsmen - the way in which Dustin attempts/suceeds to train/domesticate Dart
  • Science - in the laboratory scenes
  • Medicine - all the doctor scenes
  • Underworld - Will's journey into the underworld through his psychic link with the shadow monster, the way he locates Hopper in the underworld facilitating his rescue
  • Crossroads - the various branches and intersections of the vine system of the shadow monster that are mapped on the walls of Will's house 
  • Fire - fire is used repeatedly as a means of controlling the shadow monster by pretty much everyone

The show essentially concludes the ritual to conjure Mercury from the ore with the kids making their way through a field of broken orange vessels (the pumpkins) to perform a fire ritual at a crossroads on the threshold between the underworld and the world of the living.  Their final escape is secured by our ''herdsman'' Dustin.  The orange veil is then lifted from the show and we are drenched in blue, silver and white symbolising the loving kindness of Chesed or perhaps more likely the quicksilver metal acquired from the oxide.  If you are going to understand how they paint by numbers, you kind of have to understand the numbers. 

Qabalah is the New Black.

Monday, November 6, 2017

Cabbages and Kings II - Stoics

Diane - What did you say your name was again?
Tammy - Tammy.
Diane - Fuck you Tammy.

Twin Peaks the Return, Lynch and Frost

The Stoics believed that the universe was a single pantheistic material God and that the soul must be corporeal otherwise it would have no real existence.  Logos operates within the material substance therefore it is better to understand that material as pure mind and that various chunks of matter are thoughts (words of the word) - the soul then, fine and subtle as it is, is also of this mental material.  In this interpretation I can see no reason why the soul cannot literally be DNA - a time travelling reincarnating information spiral which probably stores all memory of that particular branch of the Tree of unfolding Life.  Within our tradition there are some nebulous definitions of terms like soul and spirit, but for me the soul is the genetic material incarnation (not the physical body persay which is the ''Guph'') and spirit is the time-traveller consciousness (logos being a kind of superconscious spark that permeates the mental material) that can become aware of its various ''incarnations''.  This spirit finds it easier to travel along soul lines (back through the history of your current incarnation) that are connected but with more difficulty you can go down one line of DNA, change at various junctions in the Tree of Life, and spring out in another person's perception. Just for clarity in my back and forth with Io, the soul as I define it is similar, a playground of time and anti-time that allows spirit to manifest in the first place.  The interplay of spirit (Neschamah) and soul (Nephesch) are what we experience as consciousness (Ruach).

After discovering the Astrogenetic associations back in 2001 I have oscillated between explaining astrological synchronicity as either the action of remote spatial influences on the subtle genetic material via gravity or light (reflected or otherwise and ultimately forms of this mental material) or whether they are markers for various positions in the cell cycle and have no direct physical influence simply mirroring each other.  When Kabbalists talk about scales and fractals like we do with terms/concepts like Hod of Netzach or Tifereth of Tifereth we can do so in such a way that diminishes various levels, a kind of ''top down'' view of Kabbalah a la primum mobile that champions the fixed stars and then the central galactic black holes as the crown of the hierarchy - but to my mind we ''descend'' to the Merkavah (Yordei Merkabah), Atziluth is not ''up'' it is within, i.e. the mathematics that underwrites reality which you can find the same in cell or star - the number one as the true primum mobile.

When we see the whole of the galaxy as an organism, similar to our own but on a much greater scale, it makes sense that there would be guardians set against us for different celestial levels, in the same way there are all kinds of immune functions that are targeted against our own cells - the body kills a lot of its own cells and defends against them getting lary.  When I am teaching astral projection I talk about how your own Outer Mind (Neschamah) has to guard against the action of your Inner Mind (Ruach) because it is not responsible to manage such things as sweating, blinking, peristalsis and so on and will therefore block the entry of yourself into yourself - if we are not responsible enough to manage our own sweating then we are clearly not responsible enough to mess around with the gravity settings of distant stars!  ''Refining'' the Ruach allows it greater glimpses of spirit - the Neschamah which experiences such things as simultaneous multiple incarnation across time (and where magick really happens), etc - the less ''refined'' the Ruach the more likely your experience is to be only in line with the DNA of your current incarnation.   I feel like refined is the wrong term implying too much judgement for my liking,(it lends itself to top down thinking) but being close to one's initial* soul is a different experience than that of leaving or distancing oneself from it and it seems that being close is the default and the other requires more work - like swimming against the current.  Unlike the Gnostic (closer to spirit) or the ''Sorceror'' (closer to soul), the Kabbalist attempts to walk the middle path.  In my own work these two competing drives have often been reflected by two different ''animas'' blonde and brunette - Alice for the Gnostic, and Red Riding Hood for the Soul** - with the third way some unspecified redhead, which for now can be Agent Tammy Preston.

Gordon Cole - Agent Tammy Preston has the stuff Denise.

Twin Peaks the Return, Lynch/Frost
*All souls are initial from the perspective of the Neschamah which experiences simultaneous incarnation.  Accessing that simultaneity from within the confines of a specific incarnation can be disorientating.
**Blondes are not confined to metaphysics nor are brunettes confined to the cthonic.  Beth Gibbons is a great example of a Blonde Red Riding Hood.