View allAll Photos Tagged HEXAGRAM
INSTAGRAM TUMBLR TWITTER FACEBOOK
----------
The Most Worshipful Grand Lodge of Ancient Free and Accepted Masons of the Commonwealth of Massachusetts
also known as: the Grand Lodge of Massachusetts (GLMA)
cornerstone laid: June, 1898
dedicated: December 27, 1899
Beacon Hill neighborhood
Boylston & Tremont streets
Boston, Massachusetts
For centuries, it was customary for brewers -- particularly those in Europe and, later, in America -- to brand or paint a six-point star on the ends of their beer kegs. And, indeed, many brewers of the 19th and early 20th centuries actually fashioned their logos to incorporate the six-point star -- known as the "brewer's star." So, what exactly does the star have to do with beer or brewing?
Of course, there has been much speculation that the brewer's emblem was somehow descended from the Star of David -- a curious match to the brewer's star. It has even been suggested that King David himself was a brewer. But others assert that the emblem's use by beer-makers originated independently of the Jewish Star, and has no historical connection thereto.
The latter have some historical facts on their side. This geometric figure, which is technically called a hexagram, has existed throughout the world for several millennia, usually as a talisman. This includes the Middle East, Africa, and the Far East. The earliest appearance in a Jewish context is in the 13-16 centuries BCE, but long after that it continued in widespread use in other circumstances not associated with the Jewish faith.
The first use of the term "Shield of David" was about 1300 CE when a Spanish practitioner of Jewish mysticism wrote a commentary on the central book of that mysticism, the Zohar. The first actual linkage of the hexagram to a Jewish community appears in the early 1300s on the flag of the Jewish community of Prague, which was designed with permission of Charles IV when he became king of Bohemia. It is known that the star was the official insignia of the Brewer's Guild as early as the 1500s, and that its association with beer and brewing can be traced as far back as the late 1300s.
Whatever the case, it is clear that the brewer's star was intended to symbolize purity; that is, a brewer who affixed the insignia to his product was thereby declaring his brew be completely pure of additives, adjuncts, etc. In fact, folklore has it that the six points of the star represented the six aspects of brewing most critical to purity: the water, the hops, the grain, the malt, the yeast, and the brewer.
From beerhistory.com
At the foot of the mountain, the lake:
The image of DECREASE.
Thus the superior man controls his anger
And restrains his instincts.
The lake at the foot of the mountain evaporates. In this way it decreases
to the benefit of the mountain, which is enriched by its moisture. The
mountain stands as the symbol of stubborn strength that can harden into
anger. The lake is the symbol of unchecked gaiety that can develop into
passionate drives at the expense of the life forces. By this decrease of the lower powers
of the psyche, the higher aspects of the soul are enriched.
Hexagram 41 - Sun/ Decrease - I Ching (1000 BC)
The snow covered volcano, Mt Ruapehu, rises above Lake Rotokura amidst old growth native bush high on the Central Plateau in the Tongariro National Park. Ruapehu is one of the world's most active volcanoes and the largest active volcano in New Zealand.
Prepare for the Conscious Convergence
Sacred Mountain Series July 2010 - #1
On Explore! December 9, 2007! #64
Thank you very much to all of you my dear Flickr friends for your so kind comments!
I'd an apparition near my Wild River... an interview by an angel...!!! :)))
angiereal.blogspot.com/2007/11/interview-with-my-flickr-f...
Like this potion of my wild river… the I Ching allows us to study the basics of life… it is a fabulous inspiration source to all of us! Those who crosses his path may quench their thirst for knowledge! As this reflection… the I Ching can never give a precise answer to the question of what is life… but it allows us to clarify our own reality! As long as we will live… we will be subject to the duality… each answer we will find will be ambiguous! But as our knowledge grows, our inner perception becomes clearer! But we have to take care…. if we claims to be more or less of what we are… we will insult our inner « me » and we will lose all credibility! The wisdom based on our experience will be recognize in this… we’ve to don’t lose us in the inner situations than we would not be able to assume!
Comme cette potion de ma rivière sauvage… le Yi King nous permet d’étudier les bases de la vie… il est une fabuleuse source d’inspiration pour nous tous! Ceux qui croisent sa route étanchent leur soif! À l’image de ce reflet, le Yi King ne peut jamais nous donner une réponse précise à la question de ce qu’est la vie… mais il nous permet d’éclairer notre propre réalité! Aussi longtemps que nous vivrons… nous serons soumis à la dualité… chaque réponse que nous trouverons sera ambiguë! Mais à mesure que notre connaissance augmente, notre perception intérieure devient plus claire! Mais attention…. si nous prétendons être plus ou moins ce que nous sommes… nous ferons injure à notre moi profond et perdrons toute crédibilité! La sagesse fondée sur notre expérience se reconnaîtra en ceci… ne nous perdons pas dans des situations intérieures que nous ne pourrions assumer!
Well Hang… just listen and see this magic percussion…. If you don’t know what is this percussion instrument… it’s a hang… celestial! :)))
On Explore! December 4, 2007! #65
Thank you very much to all of you my dear Flickr Friends for your so kind comments!
Last News:
I'd an apparition near my Wild River... an interview by an angel...!!! :)))
angiereal.blogspot.com/2007/11/interview-with-my-flickr-f...
I don’t like too much to talk about myself but some of you have expressed an interest for my relation with the I Ching! Unable to meet all of you…here is a little bit of my story!
I always wanted to provide my own needs! To manage myself! I had my eyes open while trying to fight my dependence on terrestrial things! I kept in mind that my real growth in this life should be an interaction between the accumulation of material possessions and the quest for spiritual development!
This earth has been generous to me and I enjoyed her abundance! I have owned everything that my heart wanted! But I missed the most important… the real inner security! I turned my attention to my spiritual development!
I searched in all directions to finally discover by a happy coincidence the I Ching in which I was able to build a wonderful relationship with the Invisible… relationship which gave me a spectacular overview and this inner peace so essential to my life… now contemplative! :))) Now, I do not consume more than necessary while remaining useful for my entourage! End of my little story!!! :)))
Je n’aime pas beaucoup parler de moi mais plusieurs parmi vous avez exprimé votre intérêt pour ma relation avec le Yi King! Ne pouvant vous rencontrer tous… voici un petit peu de mon histoire!
J’ai toujours voulu subvenir à mes propres besoins! Me débrouiller seul! J’avais les yeux grands ouverts tout en essayant de combattre ma dépendance envers les choses terrestres! Je gardais à l’esprit que ma véritable croissance dans cette vie devait être une intéraction entre l’accumulation de possessions matérielles et la quête du développement spirituel!
La terre a été généreuse pour moi et j’ai profité largement de son abondance! J’ai possédé tout ce que mon cœur désirait! Mais il me manquait le plus important… la véritable sécurité intérieure! J’ai tourné mon attention vers mon développement spirituel!
J’ai cherché dans toutes les directions pour finalement découvrir par un heureux hasard le Yi King par lequel j’ai réussi à établir cette merveilleuse relation avec l’Invisible… relation qui m’a donné une spectaculaire vue d’ensemble et cette paix intérieure si essentielle à ma vie… devenue contemplative! :))) Maintenant, je ne consomme pas plus que nécessaire tout en demeurant utile pour mon entourage! Fin de ma petite histoire! :)))
A beautiful movie about awakening humanity and hence the collective consciousness to a blissful state of simply BEing LOVE!!! :)))
Radial pattern from Union Station.
Portfolio flic.kr/s/aHsk7LUokY
Facebook www.facebook.com/tatsuya.ouchi.5
Instagram instagram.com/tatsuya_ouchi/
500px 500px.com/tatsuyaouchi
I am from Japan. I graduated from Nihon University College of Art in Japan with a B.A. degree in Cinematography. After that, I worked at OMNIBUS JAPAN, a film production company, for one year.
At present, I am learning English in Los Angeles. Also I often volunteering to help out for AFI & USC graduation filming. In addition, I am looking for job or internships in California. Photography is my lifework.
Experience
・ARRI FLEX 16ST, 16SR, 16SR2, 16SR3, ALEXA
・CANON XH-A1, CANON EOS 60D, 7D, 5D Mark Ⅱ
・PANASONIC AJ-HDC27F, PANASONIC AG-AF105
・SONY F900, SONY FS700, SONY F3, SONY F5
・RED ONE, RED EPIC
Languages
Japanese(Native), English(Limited working proficiency)
Sponsorship required to work in the US
We're Here! looking for sacred geometry for a mysterious school.
This image shows the arrangement of the I Ching hexagrams used by Gottfried Wilhelm Leibniz as he invented the calculus. The radiant rays are from my own photo of the inner construction of the roof of a sacred gazebo.
¿Conoces el significado simbólico de la estrella de seis puntas? Hexagrama identificado con el pueblo judío y que se ha convertido en el emblema de Israel, al que se designa igualmente como estrella de David o sello de Salomón. Símbolo calificado en hebreo como Maguén David, es decir, «escudo de Salomón». Estrella de David que sería incorporada a la bandera de Israel en 1948.
Para conocer más sobre su simbolismo consulta el siguiente vídeo de la escritora Ibiza Melián: youtu.be/W2Spi_qd0EM
Menger sponge
From Wikipedia, the free encyclopedia
An illustration of M4, the sponge after four iterations of the construction process
In mathematics, the Menger sponge (also known as the Menger cube, Menger universal curve, Sierpinski cube, or Sierpinski sponge)[1][2][3] is a fractal curve. It is a three-dimensional generalization of the one-dimensional Cantor set and two-dimensional Sierpinski carpet. It was first described by Karl Menger in 1926, in his studies of the concept of topological dimension.[4][5]
Construction
The construction of a Menger sponge can be described as follows:
Begin with a cube.
Divide every face of the cube into nine squares, like a Rubik's Cube. This sub-divides the cube into 27 smaller cubes.
Remove the smaller cube in the middle of each face, and remove the smaller cube in the center of the more giant cube, leaving 20 smaller cubes. This is a level-1 Menger sponge (resembling a void cube).
Repeat steps two and three for each of the remaining smaller cubes, and continue to iterate ad infinitum.
The second iteration gives a level-2 sponge, the third iteration gives a level-3 sponge, and so on. The Menger sponge itself is the limit of this process after an infinite number of iterations.
An illustration of the iterative construction of a Menger sponge up to M3, the third iteration
Properties
Hexagonal cross-section of a level-4 Menger sponge. (Part of a series of cuts perpendicular to the space diagonal.)
The n nth stage of the Menger sponge, M n M_{n}, is made up of 20 n {\displaystyle 20^{n}} smaller cubes, each with a side length of (1/3)n. The total volume of M n M_{n} is thus ( 20 27 ) n {\textstyle \left({\frac {20}{27}}\right)^{n}}. The total surface area of M n M_{n} is given by the expression 2 ( 20 / 9 ) n + 4 ( 8 / 9 ) n {\displaystyle 2(20/9)^{n}+4(8/9)^{n}}.[6][7] Therefore, the construction's volume approaches zero while its surface area increases without bound. Yet any chosen surface in the construction will be thoroughly punctured as the construction continues so that the limit is neither a solid nor a surface; it has a topological dimension of 1 and is accordingly identified as a curve.
Each face of the construction becomes a Sierpinski carpet, and the intersection of the sponge with any diagonal of the cube or any midline of the faces is a Cantor set. The cross-section of the sponge through its centroid and perpendicular to a space diagonal is a regular hexagon punctured with hexagrams arranged in six-fold symmetry.[8] The number of these hexagrams, in descending size, is given by a n = 9 a n − 1 − 12 a n − 2 {\displaystyle a_{n}=9a_{n-1}-12a_{n-2}}, with a 0 = 1 , a 1 = 6 {\displaystyle a_{0}=1,\ a_{1}=6}.[9]
The sponge's Hausdorff dimension is log 20/log 3 ≅ 2.727. The Lebesgue covering dimension of the Menger sponge is one, the same as any curve. Menger showed, in the 1926 construction, that the sponge is a universal curve, in that every curve is homeomorphic to a subset of the Menger sponge, where a curve means any compact metric space of Lebesgue covering dimension one; this includes trees and graphs with an arbitrary countable number of edges, vertices and closed loops, connected in arbitrary ways. Similarly, the Sierpinski carpet is a universal curve for all curves that can be drawn on the two-dimensional plane. The Menger sponge constructed in three dimensions extends this idea to graphs that are not planar and might be embedded in any number of dimensions.
The Menger sponge is a closed set; since it is also bounded, the Heine–Borel theorem implies that it is compact. It has Lebesgue measure 0. Because it contains continuous paths, it is an uncountable set.
Experiments also showed that cubes with a Menger sponge structure could dissipate shocks five times better for the same material than cubes without any pores.[10]
Menger sponge
From Wikipedia, the free encyclopedia
An illustration of M4, the sponge after four iterations of the construction process
In mathematics, the Menger sponge (also known as the Menger cube, Menger universal curve, Sierpinski cube, or Sierpinski sponge)[1][2][3] is a fractal curve. It is a three-dimensional generalization of the one-dimensional Cantor set and two-dimensional Sierpinski carpet. It was first described by Karl Menger in 1926, in his studies of the concept of topological dimension.[4][5]
Construction
The construction of a Menger sponge can be described as follows:
Begin with a cube.
Divide every face of the cube into nine squares, like a Rubik's Cube. This sub-divides the cube into 27 smaller cubes.
Remove the smaller cube in the middle of each face, and remove the smaller cube in the center of the more giant cube, leaving 20 smaller cubes. This is a level-1 Menger sponge (resembling a void cube).
Repeat steps two and three for each of the remaining smaller cubes, and continue to iterate ad infinitum.
The second iteration gives a level-2 sponge, the third iteration gives a level-3 sponge, and so on. The Menger sponge itself is the limit of this process after an infinite number of iterations.
An illustration of the iterative construction of a Menger sponge up to M3, the third iteration
Properties
Hexagonal cross-section of a level-4 Menger sponge. (Part of a series of cuts perpendicular to the space diagonal.)
The n nth stage of the Menger sponge, M n M_{n}, is made up of 20 n {\displaystyle 20^{n}} smaller cubes, each with a side length of (1/3)n. The total volume of M n M_{n} is thus ( 20 27 ) n {\textstyle \left({\frac {20}{27}}\right)^{n}}. The total surface area of M n M_{n} is given by the expression 2 ( 20 / 9 ) n + 4 ( 8 / 9 ) n {\displaystyle 2(20/9)^{n}+4(8/9)^{n}}.[6][7] Therefore, the construction's volume approaches zero while its surface area increases without bound. Yet any chosen surface in the construction will be thoroughly punctured as the construction continues so that the limit is neither a solid nor a surface; it has a topological dimension of 1 and is accordingly identified as a curve.
Each face of the construction becomes a Sierpinski carpet, and the intersection of the sponge with any diagonal of the cube or any midline of the faces is a Cantor set. The cross-section of the sponge through its centroid and perpendicular to a space diagonal is a regular hexagon punctured with hexagrams arranged in six-fold symmetry.[8] The number of these hexagrams, in descending size, is given by a n = 9 a n − 1 − 12 a n − 2 {\displaystyle a_{n}=9a_{n-1}-12a_{n-2}}, with a 0 = 1 , a 1 = 6 {\displaystyle a_{0}=1,\ a_{1}=6}.[9]
The sponge's Hausdorff dimension is log 20/log 3 ≅ 2.727. The Lebesgue covering dimension of the Menger sponge is one, the same as any curve. Menger showed, in the 1926 construction, that the sponge is a universal curve, in that every curve is homeomorphic to a subset of the Menger sponge, where a curve means any compact metric space of Lebesgue covering dimension one; this includes trees and graphs with an arbitrary countable number of edges, vertices and closed loops, connected in arbitrary ways. Similarly, the Sierpinski carpet is a universal curve for all curves that can be drawn on the two-dimensional plane. The Menger sponge constructed in three dimensions extends this idea to graphs that are not planar and might be embedded in any number of dimensions.
The Menger sponge is a closed set; since it is also bounded, the Heine–Borel theorem implies that it is compact. It has Lebesgue measure 0. Because it contains continuous paths, it is an uncountable set.
Experiments also showed that cubes with a Menger sponge structure could dissipate shocks five times better for the same material than cubes without any pores.[10]
2016, oil on canvas, 32" x 48". Image conceived from throwing of I Ching Hexagram 64 with main metaphor 'Old Fox Walking on Thin Ice' that provided perfect response to question I asked for assistance in future direction.
This tessellation is derived from Lucky Star Tessellation, but due to the different arrangement of paper layers, this one can’t be fractalized. The outline of the molecule looks just like the former model, but the apparent two equilateral triangles inside make it look more like a Star of David than when the inside is composed of six rhombi.
This is the first time I folded Leathac Rouketsu paper. Classified as 105 gsm, it is quite thick and rather stiff, especially in the direction perpendicular to the grain. The back side is smooth while the front features an interesting texture which resembles leather. Against the light, it is translucent, with the texture clearly visible. While this paper has a slightly plasticky feel, it kept its geometry well and I was able to precrease the model precisely. However, this paper is rather suited for large grid spacing: its thickness and a big difference in bending resistance between two perpendicular directions make folding small details difficult. Collapsing the model went well, largely because of the paper's stiffness. It felt like it could be really good for corrugations. However, when I had to squash-fold the tips of the stars’ rays in their bottom layers, I found the stiffness to be a bit of an issue. Zoned wet folding might help in this case but I didn’t try it. I also recommend using a bone folder to fold this paper if you care about clean creases (this probably matters much more for tessellations than it does for animals).
On Explore! December 5, 2007! #403
Thank you very much to all of you my dear Flickr friends for your so kind comments!
Last News:
I'd an apparition near my Wild River... an interview by an angel...!!! :)))
angiereal.blogspot.com/2007/11/interview-with-my-flickr-f...
My wild river reflection!
What a beautiful third eye she had the little Queen of my wild river!!! :)))
Acceptance, openness, responsiveness, flexibility… prerequisite to be the host of the little Queen who lives in us… to peacefully observe the glory of her Kingdom! Building on the vision of others to address the narrowness of his own views… smallness becomes greatness… According to the Tao… the greatness through the humility!
Reflet de ma rivière sauvage!
Quel troisième œil elle a la petite Reine de ma rivière sauvage!!! :)))
Acceptation, ouverture, réceptivité, souplesse… condition indispensable pour être l’hôte de la petite Reine qui vit en chacun de nous … pour pouvoir observer paisiblement la gloire de son Royaume! S’appuyer sur la vision d’autrui pour remédier à l’étroitesse de ses propres vues… la petitesse devient grandeur… Selon le Tao … la grandeur par la voie de l’humilité!
Kleine Queen of Hearts… Juliane Werding!!!
Snowflakes, like people, are all different and beautiful, but they can be a nuisance when they lose their identity in a mob....
The mountain is the image of the Keeping Still hexagram of the I Ching, or The book of Changes.
To man, this hexagram turns upon the problem of achieving a quiet heart.
True quiet means keeping still when time has come to keep still, and going forward when time has come to go froward. In this way, rest and movement are in agreement with the demands of the time, and thus there is light in life. This hexagram signifies the beginning and end of all movement.
They say: Climb the mountain not to see the masters, climb it to seek what they sought.
===============
FUJI GW690III, EBC Fujinon 3.5/90, 1/125s, f/13, , RPX100, V850, Epson Scan 2, Affinity Photo 2
Looking hexagram patterns on the exterior wall.
-----------------------------
JA Musashi, Main Office (JA東京むさし本店).
Architect : Kume Sekkei (設計：久米設計).
Contractor : Kajima Corporation (施工：鹿島建設).
Completed : 2012 (竣工：2012年).
Structured : Steel frames (構造：S造、一部RC造).
Costs : $ million (総工費：約億円).
Use : Office (用途：事務所).
Height : ft (高さ：m).
Floor : 3 (階数：地上3階、地下1階).
Floor area : 43,094 sq.ft. (延床面積：4003.6㎡).
Building area : sq.ft. (建築面積：㎡).
Site area : sq.ft. (敷地面積：㎡).
Owner : (建主：).
Location : 1-10-1 Nukuikitamachi, Koganei City, Tokyo, Japan (所在地：日本国東京都小金井市貴井北町1-10-1).
Referenced :
www.nopa.or.jp/prize/contents/prize/2013/jatm.html
db1.kitera.ne.jp/building/data/shinkenchiku/2012/A0121101...
On Explore! December 7, 2007! #112
Thank you very much to all of you my dear Flickr friends for your so kind comments!
Last News:
I'd an apparition near my Wild River... an interview by an angel...!!! :)))
angiereal.blogspot.com/2007/11/interview-with-my-flickr-f...
My wild river reflection!
The I Ching brings us this inner security and that enthusiasm for life… the two goes hand in hand! Thus… the Spirit of Tao continues… the mind can’t arise! We apprehends things as they are… without interference of thought… we feel things!
Reflet de ma rivière sauvage!
Le Yi King nous apporte cette sécurité intérieure et cet enthousiasme pour la vie … les deux allant de pair! Ainsi… l’Esprit du Tao perdure… le mental ne peut surgir! On appréhende les choses telles qu’elles sont… sans interférence de la pensée… on ressent les choses!
« Immerse your soul in love »… Street Spirit… Radiohead!!!
Its through symbolic events mark a step like a rebirth, creator gushing immanent to life and the measured individuation forms that organize each world.Magic Gateway.Daniel HOURDE on the Pont des Arts.Tragik paradigm of creative life.
The Middle Pillar.“I will make the victor a pillar in the temple of my God, and he shall go out no more: and I will write upon him the name of my God, and the name of the city of my God, which is new Jerusalem, which cometh down out of heaven from my God: and I will write upon him my new name.” Revelations 3:12
Several variations of the Middle Pillar Exercise exist, however their fundamentals remain the same. Whether or not one uses the Elements as suggested by Regardie in “True Art of Healing” or the Sepherothic/planetary correspondences as he later suggests (and is most commonly used) in his book “The Middle Pillar” is irrelevant. The methods used by the Arum Solis will also be considered as an alternative exercise.
The theoretical basis of the Middle Pillar is that through imagination, breath, and concentration, the psychic energy of creation, here principally Yetzirah, can be directed allowing for a purification of the Vital Energy that holds the Secret Fire in check. As our psychic centers are cleansed of emotional, moral, and materialistic residue, they better reflect the cosmic energy that works through them. Through its pre-described pattern of circulating the energy, the Middle Pillar assists in smoothing out the edges of our aura, as well as increasing the flow of energy in general directions, so that the psychic pathways, both large and small, can be purified and strengthened through an increase of Vital Energy.The pathways described for the Middle Pillar are circular in nature. They are for the most part large, clear, and bright, with a reflective quality too them. Regardie says that the psychic spheres should be imagined like large, clear, brilliant diamonds if no other color is known. Although, in the end, the entire sphere, or extended aura, of the practitioner should be imagined as a brilliant diamond radiating heat and light.The beauty of the Middle Pillar is that it, like many esoteric practices, is really a layered exercise. Containing an almost infinite amount of flexibility and growth potential. As the practitioner develops in skill and manipulation of the imagery, the amount of new possibilities increases.One of central movements of the Middle Pillar is the “Fountain of Light”. Here, the practitioner imagines a brilliant force of energy forcing its way up through the soles of their feet and out the top of their head, spraying along the edges of their aura, making it strong and clear of any roughness, and gathering again at their feet. This cyclic imagery is repeated several times. This key part of the exercise, is the central part that prepares the central pathways for the eventual release of the Secret Fire. It is also similar to Eastern practices as seen in Chinese Chi Kung, Indian Tantra, and Tibetan Vajrayana yoga.This being said, it is also clear that some differences exist between Eastern and Western methods of releasing the Secret Fire. The methods of direct work on the psychic centers, and an upward climbing of the spinal column is more traumatic than the more general work of the Middle Pillar. It is for this reason, that the techniques of yoga, save a few, that are aimed straight away at releasing the Secret Fire, require supervision of a guru. Being that they so restrict the activities of the practitioner, and require close supervision, they are also systems that are impractical for day to day life in American and European culture.
While similarities exist, and will be examined, the major differences appear to be the following:
1) Indian yoga is aimed principally at liberation from the physical realm in as quick a method as possible. Western esoteric practices are aimed at the perfection of matter and the psyche within the material world, and not an abandonment of it.
2) Chinese yoga, or Chi Kung, is more akin to Western practices, in that it is aimed at perfection of the material world, and even the spiritualizing of the body into a “Body of Light”. It, however, is more akin to Indian yoga, in that it starts at level of the etheric body (nadis or acupuncture points) and proceeds from there. This “from the bottom up, and inside out” approach is different from the Middle Pillars “top down, outside in” method. Because the etheric body is directly effected early on, the effects are more dramatic, as well as potentially traumatic for the unprepared. In the Middle Pillar, the etheric body is often the last thing effected. This is because the symbolism used, as well as the need to develop skills in concentration, visualization, and meditation effect primarily the mental outlook of the practitioner for a long period of time. Only after considerable practice, of a year or more, on a daily basis, do the effects of the Middle Pillar begin to sink into the astral body, and eventually filter into the etheric and physical bodies of the practitioner. It is stated in one source, that it takes a minimum of three years for even the most advanced yoga practitioner to release the Kundalini through special exercises. A ‘release’ which we have stated, is not a release per se, but the removal of obstacles to its natural expression. This is a critical point, since it is often said that to experience kundalini it will often take twenty years of practice of esoteric exercises, or even Hatha Yoga, the same amount of time it took Nicholas Flamel to confect The Philosopher’s Stone. During a recent workshop, Jean Dubuis stated that it may be possible to complete the extremely dangerous Flamel Method in three years. It may be that for the alchemist, the interior creation of the Philosopher’s Stone is nothing short of the kundalini experience, and the exterior creation of the Stone is the ability to direct this Cosmic creative energy at will.
3) Tibetan systems run somewhere between the Chinese and Indian, in that they are concerned with liberation, but also with the creation of an etherial body made from their bodily essences. This Diamond Body, or Rainbow Body, is pure light and can materialize at the will of the adept. Like the Chinese and Indian systems, the Tibetan system uses rituals for the purification of the mind and emotions of the practitioners, as well as the visual images in both anthropomorphic deities and abstract geometric forms. The Rituals of the Pentagram and Hexagram fulfill this function when performing the Middle Pillar.
Thus, we can see, the major differences in Eastern and Western practices can be summarized in function and reference point of origin. The East seeks liberation through progressive untying of the knots of ignorance that bind humanity to incarnation. The West seeks to perfect the material world making material reality a reflection of spiritual reality. Once accomplished, the adept can then proceed to dis-incarnate at will. The Western approach seeks to be more active in the world and to transform it, while the Eastern approach is to see the world as an illusion that is impermanent, and as such, is more passive. Such philosophies, like all beliefs and cultures, reflect the physical environment of their earliest origin. In tropical and sub-tropical zones the concern with time is less important that in the Northern hemisphere where a winter without food stores means death for the community. The cold, harsh realities of arctic zones produce a different theory and technique, and as such, different ideal (gods) than agricultural areas. Whether one is a hunter nomad or an established agrarian society is reflective of the physical landscape they live in, and as such effects values, needs, and spiritual philosophy and technique.
This is of critical concern whenever one is considering adopting the esoteric practices on another land or culture. Why did it arise, and under what circumstances? Are those same conditions applicable today, and in the life of the potential practitioner? In view of current conditions, are the practices being considered progressive or regressive in nature? That is, are they forward moving, or simply an idealization of a mythical past ‘golden age’?
Thunder on the mountain: The image of Preponderance of the Small. Thus in his conduct the superior man gives preponderance to reverence. In bereavement he gives preponderance to grief. In his expenditures he gives preponderance to thrift.
New for Gothcore, opening Aug 24th!
Alexa, play Cirice.
Get into spooky season by reaching into the dark with this PBR occultist set! Available as a set or individual pieces.
Occultist Altar - decorative altar, 2 LI. Includes one with sigils and one without any markings. Would also make a great store desk/info table!
Occultist Sigils - Includes sulfur, chaos, brimstone/Leviathan cross, and unicursal hexagram/Thelemaic hex. Each sigil comes in floor, altar, and wall (glow or no glow) versions. Each is 1 LI, with the exception of the floor Leviathan cross, which is 2 LI.
Altar Candles - a glorious set of 3 candles on intricate stands, individually or in a cluster. Each only 1 LI. Click wick for on/off flame. Available in 5 colors.
PBR and fallback textures. Ad is shown in PBR, Dusty windlight, with some red ambient lighting. Demos are out at event - recommended viewing on Midday to see them in "neutral" light. The individual ads at the event have been shot under Midday lighting.
Copy/Mod/Original mesh.
A recent design of mine, a box with the Star of David, seen from the top. Folded from a single sheet of Tant paper without cuts or glue. The star can be tessellated.
It was quite challenging to fold this model cleanly (without unnecessary creases visible in the model) so I plan to use it as an example of my clean folding technique during the Origami Outdoor Meeting in Kraków, Poland, this June.
After designing the tessellation molecule, I found a very similar idea used before by Christine in her Angel Tessellation. However, her molecules do not lie flat which makes the stars less clearly visible. Apparently, my model is also very similar to Eric Gjerde’s tessellation called Negative Space Stars: the stars are formed in essentially the same way but the space between them has fewer pleats in my model.
Carla Wojczuk is a Bay Area visual and theater artist, filmmaker, muralist, educator, and writer who has lived and worked in the Mission District of San Francisco. She was born in Boulder, Colorado, to artistic parents who contributed to her love of the visual and written arts. She attended Smith College, where she received a BA in studio art with a minor in Spanish, and she also received an MEd in social justice education from the University of Massachusetts, Amherst. Carla has participated in a number of mural projects in the Mission District in recent years, and she has also contributed to documentary film production and other projects related to the celebration and preservation of the vibrant culture and heritage of the Mission.
The block long Balmy Alley in the Mission District is the best place to see the most concentrated collection of murals in San Francisco. The murals began in the mid-80’s as artists’ outrage over human rights and political abuses in Central America. Today the alley contains murals on a myriad of subjects and styles from human rights, to AID/HIV in Africa and local gentrification.
"Lu" is the Chinese name of the I Ching (Book of Changes) Hexagram 56. The Hexagram is often called ‘the wanderer’ or alternatively named ‘sojourning’ or ‘traveling’. It represents a time to go on a journey. "Often times we feel the need to travel, but now is the time to do so to gain knowledge and not just to escape. There is much knowledge, wisdom, and beauty to be discovered in the world".
It was drizzling when I took this picture, so there were some tiny water drops on the lens, which are slightly evident as you can see in some parts of the photo. Interestingly, there is a golden hexagonal mark near the sparkling light. It seems that the reflection of the light by one of the water drops on the lens somehow becomes a hexagram in the picture. Now I know how to create such a hexagram intentionally, if I understand it correctly.
Author: Ángel Manuel Rodríguez
What biblical symbolism is associated with the four cardinal directions?
Cardinal compass points in the Bible are rich in meaning. Knowing their symbolism can help interpret some biblical passages. We often orient ourselves by facing north. In the ancient world the point of orientation was east. The east was before them, the west behind, the south to the right, and the north to the left. The future wasn’t in front, but behind, that is to say invisible. 1. The East: The importance of the east as the main point of orientation may be related to the rising of the sun and its importance in the religions of the ancient Near East. In the Bible its symbolism emerges for the first time in Genesis. The Garden of Eden was placed in the East (chap. 2:8), and its entrance faced the east (chap. 3:24). After sinning, Adam and Eve left the garden and went toward the east (chap. 3:24). This eastward movement continued with Cain (chap. 4:16) and culminated in the movement of the human race toward the east (chap. 11:2-4). Within this context the east is symbolically ambivalent. The garden placed there symbolized safety and security. After sin, when it was the direction of the exile, it represented a condition of alienation from God. It was also the place of the wilderness, from which destructive winds came, threatening life (Ps. 48:7; Eze. 27:26). To the prophets the east was a symbol of Babylonian exile and the saving presence of God. He traveled to Babylon and ultimately redeemed His people (Eze. 10:18, 19; 11:22, 23). The east became a place where God intervened on behalf of His people, bringing them salvation (cf. Rev. 16:12). 2. The West: The west symbolizes both negative and positive elements. To the west of the land was the sea, representing evil and death (Dan. 7:2, 3). In fact, the term “sea” often referred to the west (Num. 3:23). It is also the place of darkness because that’s where the sun sets (Ps. 104:19, 20). The positive meaning is its association with the Israelite tabernacle/Temple. Although it faced east, access to it required movement toward the west. In that sense the west pointed toward restored unity with God; a return to the Garden of Eden. When the Israelites traveled to and worshipped in the Temple they faced the west and had the rising sun behind them. This movement to the west began with Abram, who left the east and went to Canaan in the west in obedience to God (Gen. 11:31). It is a symbol of divine blessing. Once the exiles were liberated from their enemies in the east, they traveled west, to the land of Israel. In that journey, the Lord Himself traveled with them (Eze. 43:2-5). 3. The North: Bible students have suggested that the north is a symbol of the permanent or the eternal, perhaps because the polar stars were permanently visible in the sky. It is the place of God’s celestial dwelling (Isa. 14:13) and from which His glory descends (Job 37:22) with blessings or judgments (Eze. 1:4). He is the true King of the North. But the north—represented by the left hand—is also a symbol of disaster. The enemy of God’s people came from the north (Jer. 1:14, 15; Eze. 38:6), bringing destruction. In a sense, the enemy was the false king of the north who tried to usurp God’s role and is finally destroyed by the Lord (Zeph. 2:12; Dan. 11:21-45).
4. The South: The south is primarily a negative symbol. But the fact that it is represented by the right hand makes it also a positive one. It is negative because to the south of Israel was the wilderness, a region where life does not prosper (Isa. 30:6). To the south was Egypt, which opposed God’s power and oppressed His people. But the south was also the place where the Lord appeared to Moses, went with Him to Egypt, liberated His people, and appeared to them on Mount Sinai (e.g., Deut. 33:2). The ambivalent nature of the symbols of the four cardinal directions seems based on the fact that evil was perceived to be present everywhere and that God’s saving presence was always accessible to His people from any corner of the world (Ps. 139:7-12). In a sense they pointed beyond the points of the compass to the cosmic conflict between good and evil. Copyright: Copyright © Biblical Research Institute General Conference of Seventh-day Adventists® The Four Symbols were given human names after Daoism became popular. The Azure Dragon has the name Meng Zhang (孟章), the Vermilion Bird was called Ling Guang (陵光), the White Tiger Jian Bing (監兵), and the Black Turtle Zhi Ming (執明). In 1987, a tomb was found at Xishuipo (西水坡) in Puyang, Henan. There were some clam shells and bones forming the images of the Azure Dragon, the White Tiger, and the Big Dipper. It is believed that the tomb belongs to the Neolithic Age, dating to about 6,000 years ago. The Rongcheng Shi manuscript recovered in 1994 gives five directions rather than four and places the animals quite differently: Yu the Great gave banners to his people marking the north with a bird, the south with a snake, the east with the sun, the west with the moon, and the center with a bear.
Cardinal directions in Chinese language: their cultural, social and symbolic meanings.Introduction In his discussions of dominant Ndembu ritual symbols, Victor Turner points out that one major property of symbols is polarization of meanings. That is to say symbols possess two clearly different poles of meanings - the physical and physiological (the sensory pole), and the abstract and ideological (the ideological pole) (Turner, 1967, p.28). At the sensory pole, the meanings represent "the natural and physiological phenomena and processes" and "arouse desires and feelings." At the ideological pole, the meanings represent "components of the moral and social orders, to principles of social organization, to kinds of corporate grouping, and to the norms and values inherent in structural relationships" (Turner, 1967, p.28).
The same kind of polarization of meanings can be detected in cardinal directions of the Chinese symbolic system. However, Turner did not focus his discussions on the interrelations between the sensory and the ideological poles of symbolic meanings. Durkheim's and Mauss's Primitive Classification represented one school of thought on this issue. They argued that the origin of logical classification was a result and an aspect of social classification (Durkheim and Mauss, 1963, p.84). In the case of cardinal directions, more evidence has indicated that the sensory pole of meanings determines the ideological pole rather than the other way around. In this article the author first applies etymological method to study the meanings of direction words in Chinese language. The author believes such analyses help to understand how directions have been perceived in the history of the written language. The latter part of the article discusses how cardinal directions and other orientation concepts are used as part of traditional Chinese symbolic system. Following Jung's definitions of "signs" vs. "symbols" (Turner, 1963), we can say the directional words are signs of the known meanings of directions, whereas directions and other orientation concepts are symbols of the unknown universe.Etymological studies of directional words allow us to trace the evolution of the Chinese characters, whose hieroglyphic nature is particularly conservatory of the ideological evolution of the words. The etymological data are mostly collected from a variety of well-recognized dictionaries and online dictionary sites in both English and Chinese. The semantic units in Chinese language arc words and characters. However, graphemes and phonemes of the characters have been studied in some cases in order to understand the origin of meanings. In addition, idioms and phrases are also informational sources as it usually takes a long time for them to be established. Hence, they are used to trace ancient meanings of the words as well. Space and time are two of the most fundamental concepts in all cultures, the essential reality of human life. Like the air we breathe and the water we drink every day, they are the daily necessity we could never do without but usually take for granted. Perception of space and time defines the essence of a culture's worldview, which differs in geography and in periods of history. It is especially so in Chinese culture, as cardinal directions have become an integrative part of its symbolic classification system that defines the physical and the social reality. Studying perception of space and time would allow us to tap into the depth of a culture's worldview. The Chinese Characters Before starting the discussions of the direction words, the author would like to give a brief introduction of some major etymological and linguistic principles of the Chinese writing system. This will provide the theoretical foundation for some later discussions. If we are to divide the writing systems in the world into three types: the logographic system (in which the minimal complete unit is a logogram), the syllabic system (in which the minimal complete unit is a syllable) and the alphabetic system (in which the minimal complete unit is an alphabet) (Writing system, Wikipedia), the Chinese writing system is a typical logographic system. According to Shuowen Jiezi, one of the earliest and most well recognized etymological dictionaries in Chinese, the ancient Chinese characters can be divided into six different categories in terms of how they were developed or formed (Xu, Shuowen Jiezi online; Shuowen Jiezi, Wikipedia; Zhongwen.com, online). The first category is the pictographs (xiangxing, [??]) (1), which are direct graphical depiction of the objects they denote. Examples include [??] (ri; the archaic form [??]) meaning the sun. The second category is ideographs (zhishi, [??]; or xiangshi, [??]) that represent abstract notions. For instance, the concepts of "above" and "below" are expressed as (shang, [??]) and (xia, [??]). They use signs like the dashes and dots to express abstract ideas. The third category is called logical aggregates (huiyi, [??]; or xiangyi, [??]) in which two or more parts are combined to indicate the meanings. One example would be the character for brightness (ming, [??]), which is a combination of the characters of the sun ([??]) and the moon (yue, [??]). The fourth group is phonetic complexes (xingsheng, [??] or xiangsheng, [??]), which are composed of phonetics that are indicative of the pronunciation and radicals that are indicative of the semantic category. An example of this category is (bei, [??]), which means the back of the body. It is a combination of a phonetics (bei, [??]) and a radical (yue, [??]), which indicates flesh. The fifth type of characters is called transferences (zhuanzhu, [??]) in which more abstract and complicated meanings are derived from the original concrete meanings of words. For an example, the word [??] (bei, the back of the body) gradually adopts the meanings of "turn one's back" and "betray and desert somebody or something." The last principle that Chinese characters developed is false borrowing (jiajie, [??]) in which words take on totally unrelated meanings from the original either intentionally or accidentally. There are two major writing systems used by Chinese language speakers in modern days. One of them is the simplified writing system currently used in Mainland China, which has been adopted as the standard writing system of the People's Republic of China since 1956. The other is the traditional and comparatively more complex writing system that is used by Chinese language speakers in Taiwan, Hong Kong, Macau and other Chinese diasporas around the world. The simplified Chinese is a further evolution over the traditional Chinese, and is therefore less preservatory of the original meanings. All Chinese characters used in this article are simplified unless stated otherwise. Direction Words in Chinese Cardinal directions are some of those abstract concepts that do not lend themselves easily to pictorial representations. In Chinese, the meanings of direction words are mostly combinations of graphemes and phonemes, although some parts of the words are pictographs. The author believes the relations between the formation and the meaning of the direction words could be of cultural significance and indicative of some cognitive characteristics of the culture. Traditionally there are three sets of orientation terms in Chinese culture: si mian and ba fang , which are two-dimensional' and liu he , which is three-dimensional. Si mian, literally four sides, designates the four cardinal directions and is sometimes thought of as including a fifth point, the center. Ba fang, on the other hand, denotes eight directions, the four cardinal compass points plus northeast, southwest, northwest and southeast. In addition to the two dimensional systems is the three dimensional concept of liu he, which literally means unity of six. It is the four cardinal directions and up (heaven) and down (earth) and is used to refer to the universe.
The simplified Chinese characters for the five cardinal points are (east, south, west, north and the middle) or (east, west, south, north and the middle), in the particular orders of the five. (dong, the east). is the simplified character for the east that is currently used in mainland China. The script no longer shows its original connections with the meaning of east. However, its comparatively older form does. is an example of a logical aggregate, which can be broken up into two graphemes - (ri, the sun) and (mu, a tree). The combination of the two pictographs depicts vividly the sun rising behind a tree (Karlgren, 1923, p.324; Xu, Shuowen Jiezi online; zhongwen.com, online). In contemporary Chinese there are at least three characters that are formed by different combinations of the same two graphemes (the sun) and] (a tree). In addition to the cardinal direction word (the east), the other two are (gao ) and (yao). The character (gao) represents the sun above a tree, hence its meaning being bright and being high. (yao), which is the sun below a tree, means being deep and far, losing contact with somebody. Its more archaic meaning is darkness as implied by the combination of the graphemes. The two examples prove that the relative positions between the pictorial components of (the sun) and (a tree) is significantly indicative of the semantic meanings of the characters. In the character (the east) the position of the sun is between the root and the top of the tree, indicating the sun is rising. The composition of the logogram strongly indicates that the concept of east in the language is associated with the observation of the sun's movements in the environment. (xi, the west). The ancient form of this character is , showing a bird roosting on its nest (Karlgren, 1923, p.234; Xu, Shuowen Jiezi online; zhongwen. com, online). According to Shuowen Jiezi, the pictograph indicates that "when the sun is in the west, the birds perch over the nest" (Xu, Shuowen Jiezi online). The explicit meanings of the script are "being at home" and "being at rest." In Chinese idioms "birds returns to their nests" is usually associated with the meanings of dusk and sunset. Here the concept of sunset is borrowed to indicate the concept of the direction of sunset, the west. It is the concept of time that makes the logical link between this pictograph and its directional meaning. In many civilizations, the movements of celestial bodies define the concepts of time and space. Ancient people must have observed how the movement of the sun influences things in their environment. The sun creates days and nights, light and shadow, the seasons, and cycle of life, which all have great impact on people's livelihood. Records from all early civilizations show that ancient people established the first measurements of passage of time based on the movements of celestial bodies. For an example, the ancient Chinese read the positions of the shadow of a dial to tell the hours of a day. Our current 365 days solar calendar relies on the movements of the sun. The earliest Egyptian calendar depended on the movements of the moon. The Mayans of the Central America developed their 260 days calendar according to the movements of the Sun, the Moon and the Venus. In Chinese, the spatial division of east and west both contain some implications of time. East is connected to the beginning of a day, a year, and a life, whereas west to the end of work, a day, and a life. The Chinese character for the sun also means a day, daytime, and years. It also appears in many compound words and idioms with indications of time. Connecting east with sunrise and dawn and west with sunset and evening are common in many other languages as well. The English word east comes from Eastre, the name of a pagan dawn goddess whose festival was celebrated at vernal equinox almost at the same time as the Christian Easter (Weiner, 1989, p.36; Flexner and Hawk, vol. 5, 1993, p.615; Webster, 2002, p.716). In Latin and Greek among some other old Indo-European languages, the stem for east means dawn (Weiner, vol. 5, 1989, p.36). In English "go west" means "to die." There is exactly the same phrase in Chinese that means exactly the same thing. (nan, the south). is composed of a radical [??] and a phonetic [??] (Karlgren, 1923, p.203; Xu, Shuowen Jiezi online; zhongwen.com, online). The archaic form of [??] (bo) is [??], a picture of lianas indicating abundant and tangled vegetation. Living in the North hemisphere, ancient Chinese have observed that the southern side of a mountain, a tree, and a house receives more sunshine than the northern side. Vegetation is therefore more flourishing and abundant on the southern side. South is the direction where vegetation grows more luxuriantly. The phonetics [??], pronounced as (ren), is used as the phonetic in several other tree names (Karlgren, 1923, p.203). (bei, the north). The older form of this character is which indicates two persons positioned back to back (Karlgren, 1923, p.216; Xu, Shuowen Jiezi online; zhongwen.com, online). The picture strongly points to the meaning of back. In modern Chinese, another phonetic complex (bei) is used for the meaning of the back of human body, in which [??] (north) functions as the phonetic and ((flesh) as the radical. In some dictionaries the word it has two pronunciations, bei and bei (Guoyu Cidian, online; Xu, Shuowen Jiezi online). The meaning associated with the first pronunciation is "an equivalence to the back of human body." North and back in Chinese share the same pronunciation and the same meaning in archaic Chinese. The meaning associated with the second pronunciation can be an adjective "being disagreeable and harsh," or a verb "to flee," or "to be defeated, to turn back on." The pictograph of north is linked to the observer-centered concept of back. In Chinese, back means being opposite to front, being the back of or being in the shadow. North is linked to back in all three senses. North is opposite to the sun and the south. That is why it is in the shadow and darkness. This is similar to the back of a person. In Chinese culture, the north side of a building is usually its back, for gates and doors are opened on the south to receive more sunshine. Light and shadow are the major dichotomous concepts associated with north and south in Chinese. The characters of north and south indicate that north is the shadowed side whereas south is the lit side. The geography and landscape of the country stresses the dichotomous divisions. All major rivers and mountains in China run west-and-eastward, which divide the land into parallel stripes. The ancient Chinese have learned to tell directions by looking at the positions of light and shadow. The saying goes "the shadowed side of a mountain is north and the shadowed side of a river is south." The two characters for being in shadow and being lighted by the sunlight are (shadow; Yin) and (light; Yang) respectively. The two words are also used for the dialectic philosophical concepts of yin-yang, which classify things, phenomena, and their traits into dichotomy in many eastern cultures. The two concepts are often represented by two signs,--(a broken line, yin)--(a solid line, yang). The symbols are stacked together to create eight trigrams like . Legend has it that one ancient Chinese king developed the eight trigrams into a system of sixty-four hexagrams to represent different processes in divination. His theory was written in a well-known book, Yi Jin (I Ching), another classic work of the ancient Chinese symbolic system. (the middle or the center, zhong). The ideograph could be interpreted as a vertical line bisecting an enclosure or an arrow hitting the center of a target (Karlgren, 1923, p.360; Xu, Shuowen Jiezi online; zhongwen.com, online). It denotes the meaning of the center or in between.
The fact that the concept of the center or the middle is depicted by an ideograph instead of a pictograph indicates to some extent that it is comparatively more abstract than the other four cardinal directions. A boundary is required before the center could be defined. Limited geographical boundary was not uncommon among ancient people who had no efficient way of transportation to travel widely. The center is a concept relative to the periphery. When the center or the middle is present, the four directions become the relative periphery or the frontiers. In Chinese, China means the Middle Kingdom. The name comes from the country's geographical position in early history when the core territory was surrounded by frontiers on all directions. The Five Elements System In addition to the Yin-Yang and the eight diagrams, another major part of the primitive Chinese symbolic system is the Five Elements System (Wu Xing, Wikipedia). The five elements refer to metal, wood, water, fire and earth. Each of these elements is matched to many other aspects of the material world (See table 1). For example, five planets, five colors, seasons of the year, organs of the body, sense organs, flavors, and animals to mention just a few. The four cardinal directions plus a center are an integral part of the system, which is critical and widely applied in many areas of traditional Chinese culture. Traditional Chinese medicine is one area in which the Five Elements System plays a pivotal role. Five major blood circulation organs, five major digestion organs, and other parts of the human bodies are corresponded with the five elements based on similar attributes. Things belonging to the same category are considered as related with each other. For an example, patients suffering from liver problem usually have weaker sight, crave sour food, are easy to get angry, sometimes show unhealthy dark greenness in skin tone and more likely fall victim of the disease in springtime.The Five Elements System is also a fairly sophisticated symbolic system that uses the concrete relationships between the five material elements in nature to represent and explain the abstract interactions and relationships of all phenomena . In general the system specifies four kinds of relationships. Two of the four relationships create a positive balance state. They are called generating (mothering) relationship (Sheng), and restraining or counterbalancing (fathering) relationships (Ke, . The other two exist when there is a negative out-of-balance state either because one element is too strong or too weak. In a restraining relationship, if the restraining element overpowers and hence over-limits the restrained element, there is an over-restraining relationship (Cheng, . On the other hand, if the restrained overpowers the restraining, it could not be contained but instead controls the restraining element. This would break the balance of the system and create a humiliating relationship (Wu) The picture illustrates the four relationships among the five elements. Clockwise, each element in the circle is generated by the previous element and in turn generates the following one, restricts the third one and is restrained by the fourth one. For instance, fire is fueled (created) by wood, creates earth (ashes), melts (restrains) metal, and is extinguished (restrained) by water. Orders of Cardinal Directions The juxtaposition of the four Chinese cardinal directions, sometimes five, is an idiom in itself, a synonym to "everywhere" and "direction." This idiom has two forms, east-south-west-north and east-west-south-north. When present, the word for the middle is the last character in both arrangements. The orders of the four cardinal directions are different from that in English, which is usually north, south, east and west. Statistically speaking, there are twenty-four permutations for four cardinal directions. It is culturally significant that only one or two orders are used. It is not known why these particular orders exist to the exclusion of the other possibilities. The first order is clockwise starting from the east, which happens to imitate the movement of the sun in the sky. It represents a continuous cycle in both time and space. In the ancient Chinese classificatory system, the directions are matched with the seasons, east to spring, south to summer, west to autumn, and north to winter. The clockwise order of the cardinal directions also coincides with the chronological order of the four seasons. Again, space and time are inseparable from each other. East, a spatial concept standing out originally as the place where the sun rises, takes on the meaning of a start in time. The day starts at the east. The east wind from the seas brings warmth and rain, an indication of the advent of spring. Spring is taken as the beginning of a year, which starts the annual farming cycle. The Chinese New Year is called the Spring Festival. The matching between directions and seasons results in substitution between the two sets of concepts. East wind is almost a synonym of spring wind, spring fanning is called east activities, and East Emperor is a literate alias of the god of spring. Correspondingly, west harvest means autumn harvest, and west wind usually refers to autumn wind that sweeps away leaves from the trees. The matching is certainly related to China's geographical and climatic situations. Warm and damp wind comes from the east and the south, and cold and dry wind from the north and the west. The former brings spring, the latter the winter. It's interesting to compare the Chinese classification with a similar one in the Zuni culture. The Zuni also attributes seasons, colors and animals to spatial divisions (Durkheim and Mauss, 1963, p.43). They also add the center to the four cardinal directions, and have zenith and nadir in their basic spatial divisions. Also like the Chinese, the Zuni associate winter with north, and fire and summer with south. This is reasonable as both peoples live in the northern hemisphere. However, the Zuni "attributed water, the spring and its damp breezes, to the west; ... the earth, seeds, the frosts which bring the seeds to maturity and end the year, to the east." (Durkheim and Mauss, 1963, p.43) This is exactly the opposite to the Chinese's. For the Zuni, who lived in Zuni Pueblo, New Mexico, damp breezes and rain come from the west and frosts come from the east. The differences and similarities of the two systems provide strong evidence for how people's perceptions of spatial divisions are shaped by their environments. In the second Chinese order the cardinal directions are organized into two dimensions: east-west and south-north. The east-west dimension always comes before the south-north dimension in such an order. Southeast and Northwest are * Eastsouth and * Westnorth in Chinese. [??] (east-west) also means things in Chinese. That is because, as is explained in an ancient Chinese book, "things are produced in the four cardinal regions but are called briefly as east-west; that's similar to history being called briefly as spring-autumn though it records four seasons." (Guoyu Cidian, Online) In this case east and west stand for all the four cardinal points. This points to the comparative prominence of the east-west axis over the north-south axis. Within the axis, east always comes before west and south before north. Chinese has plenty of idioms with the structures of "east ... west ..." and "south ... north. ..." There are exceptions, of course, but the proportion is too small to be cognitively significant. The comparatively more dominant status of east and south can also be understood from a political and economic perspective. Due to its geographical features, the western parts of the country were mainly deserts and barren plateaus, and the north was associated with bitterly cold weather and infertile frozen lands while in the southeast parts the fertile rice fields that were the grain barn of the country. The north and the west were important only in terms of military defense. In a culture with a long history of agricultural civilization, it is understandable that the east and the south were more preferred and more important economically, politically, and culturally.
Social Orders of Cardinal Directions Facing south adopts cultural and social significance over time in ancient China. The general pattern of traditional Chinese building complexes and room arrangements look like a square, with the front gates facing the south in order to be warmed and lighted by the sun. This pattern can be seen in residential houses, palaces and temples. The southern side of buildings has front gates, doors and wide open windows. On the north side, there are merely walls and small windows. In a building complex the main rooms face south with the wings facing east and west. There are back doors on the north sides of buildings in a complex, but they are for convenience of connection between rows of buildings. Some units do have doors facing north, but these are called the reversed houses (daoxia) (Cao, 1996, pp.29-59) and are considered atypical. The arrangement of furniture is confined and determined by this architectural pattern and so is the order of seating. In this way the practicality of facing south becomes symbolically important.
The north seat that faces south is reserved for persons with the highest social status. In the imperial court the emperor's "dragon chair" was not only significantly elevated but also invariably facing south. Court officials stood underneath his feet on the east and the west sides of the hall. Because the emperors' thrones always faced south, the phrase "facing south" came to be used as a proper noun designating an emperor. "To face south" means to become the emperor or the king. Accordingly, to face north meant to be a subject of an emperor or a king. Being bright was an adjective to praise the rule of a good emperor. As the saying goes "a good emperor faces south to listen to the discussions of national affairs and rules brightly." Such seating arrangements were copied in military and civil courts at all levels, in schools, and even in family lineages. The person who dominated the group took the north seat that was usually elevated but not as significantly as was the imperial throne. In military and civil courts it was for the official with the highest rank. In a lineage this south-facing seat was reserved for the eldest and most influential male or female member of the lineage. In schools the south-facing chair was for the teacher. The expression "facing north to somebody/something" was a figurative expression meaning to submit oneself as a subordinate, or, in the context of schools, to be a student. The phrase "the white-haired still face the north" indicates an old person who is still a student. The person with the second highest rank was positioned on the east side. The individual ranked third in the gathering was located on the west side facing the second ranking person. Then, back and forth, east and west, all the way down through for all present. In Chinese, the east is a synonym of the host whereas the west also means the guest. Custom had it that when the host and his guests entered a house, the host used the eastern stairway while the guest entered by the stairway on the west. Hence, the host is called "dong dao" (east road). The landlord is "fang dong" (east of the house); the master, "dong jia" (east family); and the hotel owner, "dian dong" (east of the hotel). To be one's treat is "zuo dong" (being the east) in Chinese. In "xi xi" (west seat) and "xi bin" (west guest, west is related to the meaning of guest. This usage, still prevailing in contemporary common language, can be traced back to an ancient custom that the host sat on the east and the guest on the west. In the system the relative spatial concepts of left and right are also interwoven with the absolute system of directions and became substitutes for east and west. The Chinese characters for left and right are [??] (zuo) and [??] (you). In older manuscripts, these are written as and . The two icons represent a hand facing different directions. Thus left and right are related to the two hands and indirectly to the two sides of the body. This substitution is no longer active in contemporary Chinese culture. However, traces of this tradition are still found in a few idioms and place names. "You di" (right lands) means west lands. "Shan zo" (left of the mountains) and "shan you" (to the right of the mountains) refers to Shandong and Shanxi provinces that are located on the east and the west sides of the Taihang Mountains respectively. In like fashion "he you" and "jiang you" (both meaning to the right of the river) designate the area west of the Huanghe River (the Yellow River) in the first case and to the west of Changjiang River (the Yangtze River) in the second. Conversely, "he zo" and "jiang zo" (both meaning to the left of the river) are the areas east of these two rivers. Like east and west, left and right are also social status indicators. Facing south, the right side is the east and the left side the west. The right seat was considered more respectable than the left one. "Lu zo" (left side of the street) is equivalent to the other side of the tracks in Anglo culture of North America. In older times, the wealthy lived on the right side of the street and the poor inhabited the left. "You xing" (right surnames), "You qi" (right relatives) and "You zhi" (right positions) referred to the aristocracy, the imperial families and the high-ranking official positions (Contemporary Chinese Dictionary, 1996). The right has also taken on the meaning of being better as is in the idiom "no one is on his right," which means no one is better than he. An exception to the prominence of right is encountered in carriage where the person with the highest social status occupies the seat on the left. That is the source of the idiom "waiting with the left seat empty," which is a signal of showing respect to someone not yet present. Another pair of directional concepts are up and down. The two characters for up and down are [??] (shang) (Karlgren, 1923, p.251) and [??] (xia) (Karlgren, 1923, p.69). They are iconic signs. The long dash, the base line, represents the horizon (zhongwen.com, online). The short stroke to the right is above the horizon for shang and below it for xia. Up symbolizes high social status and down the reverse. To reinforce the imperial authority, feudal rulers elevated their thrones in the audience halls. Last but not least, the cultural significance of [??] (zhong, the center or the middle). The long history of highly centralized feudal regime stressed the cultural significance of centralization in the culture. The centralized pattern of feudal political regime is clearly embodied in the design of the capital cities and the imperial palaces. Beijing and its Forbidden City, the best-preserved imperial capital and palace, best illustrates the idea of centralization. The old city of Beijing is a fortified square with well-aligned grids running along the two axis of north-south and east-west. The imperial palace, the Forbidden City, occupies the central area of the city proper. The major palaces inside the Forbidden City line up in a row, forming a north-to-south line dividing the city into two symmetrical parts of east and west. Being at the middle is also an important philosophical concept in Chinese culture. Confucianism highly advocates the doctrine of being at the middle, or not going to the extremes, in attitudes as well as in actions. Conclusion These etymological analyses of Chinese direction terms show how observation of the celestial bodies and their impact on natural environment underlies the initial ancient Chinese definition of the cardinal directions. Comparisons with similar primitive classification systems originating in different natural environments also provide some evidence of how perception of time and space are significantly determined by the geography and landscape of the motherland. The limitations and definitions by the environment gradually come to impact other aspects of ancient Chinese livelihood as the culture developed. For instance, the environmental influences helped to define the architectural styles and structures in ancient China, which over time influenced social behavioral norms. As directions were integrated as an important part of the symbolic system, they become dominant symbols in the culture, which can be seen in the usage of directional terms in a variety of idioms and phrases as well as in many areas of the traditional culture. Medicine and divinations are two examples. Data from the study provide further evidence to support Victor Turner's theory that symbols possess bipolar meanings - one clusters around the physical and concrete, and the other the abstract and ideological. Durkheim and Mauss refuted Frazer's argument that the social relations of mean are based on logical relations between things, and argued that it is the social relations that have provided the prototype for the latter. (Durkheim and Mauss, 1963, p.82) In their article Durkheim and Mauss stressed the role of social organizations and social relations in human cognition. They believed the essential cognitive characteristics underlying the primitive classification are the same as that of the modern scientific classification, which both result from human tendencies to unify knowledge, to know as social beings and groups, and to extend the unity of knowledge to the universe. (Durkheim and Mauss, 1963, pp.81-84) In the case of cardinal directions, the Chinese characters clearly indicate the influences of the natural phenomena on people's understanding of them. The ancient Chinese architectural styles and structures were influenced by the environment, which in turn influenced the social lives of people. However, the study does not intend to deny that human beings see things from their own perspectives and understand the universe within the limitations of their perceptions. The limitations also exist for any anthropological interpretation of cultures, just as Victor Turner discussed in Forest of Symbols. It is the case in this current study as well. Generally speaking, the modern views of orientation terms are not often the same as what was originally meant in antiquity. Our understanding of the direction concepts must have drifted away from the empirical perceptions of the ancient people. Therefore, when trying to make sense of why things become what they are, sometimes it is inevitable that our understanding is limited by our perception of here and now. This is a paradox for all anthropological studies of the "other" cultures (both culture of the others, and the other culture of ourselves). Ancient Chinese culture is baffling to modern Chinese who are confronted with a similar paradox - try to understand the perceptions of the ancient Chinese but have to do it from the perspective of a modern Chinese. In this article, the author uses the four cardinal direction words and the fifth, the centrum, to present an outline of the primitive Chinese classification system. Yet it must be said that the Chinese classification system is far more complicated than what can be explained in this essay. Concepts of the Yin-Yang dichotomy, the eight trigrams, and the Five Element System are all phenomena worthy of an independent study. However, as an interesting and inseparable part of the symbolic system, the orientation words help to show the interconnections between the several important concepts of the ancient Chinese symbolic system. COPYRIGHT 2009 Institute of General Semantics
Copyright 2009 Gale, Cengage Learning. All rights reserved.
2016 is year of the Red Monkey Male FireMonkey. The Chinese name of 2016 in the Chinese Horoscope calendar is Male Fire Monkey. Chinese apply Five Elements (Metal, Water, Wood, Fire and Earth) into the Chinese calendar. Male Fire is in the Fire group. The color of Fire is connected to Red. Monkey is the calendar character corresponding to Monkey. Therefore, 2016 is the Red Fire Monkey year.2016 is the 4713th Chinese Year. According to Chinese Horoscope calendar, the first day of Red Monkey is on February 4, 2016. This day is not the Chinese New Year Day. Most of Internet Chinese horoscope sites use Chinese New Year Day to determine the Chinese zodiac sign, which is wrong. Chinese New Year Day of Red Monkey Year is on February 8, 2016. This is the reason that some people confuse their Chinese zodiac signs.The first day of the Chinese astrological year is the first day of the Tiger Month (Start of Spring). The Tiger Month begins around February 4, each year. If you were born before February 4, then you should check Your Chinese Zodiac Sign first before reading your 2016 Chinese zodiac forecast.Monkey is the 9th animal in 12 zodiac signs. Monkey is after 8th Sheep and before 10th Chicken. Monkey is the animal in the first of Metal Cycle. Monkey, Chicken and Dog are in the cycle of Metal. Our Chinese horoscope prediction combines the theory of Five Elements, the relationships betweens animal signs and the image meaning of I-Ching hexagram.The prediction for 2016 Year of Monkey is based on your birth year, the Chinese zodiac signs. We have different forecasting method for 2016 using your entire Chinese astrology birth chart, which is required your birthday and birth time. You can find the hyperlink in the end of the prediction.According to Chinese Five Elements Horoscopes, Monkey contains Metal and Water. Metal is connected to gold. Water is connected to wisdom and danger. Therefore, we will deal with more financial events in the year of the Monkey. Monkey is a smart, naughty, wily and vigilant animal. If you want to have good return for your money investment, then you need to outsmart the Monkey. Metal is also connected to the Wind. That implies the status of events will be changing very quickly. Think twice before you leap when making changes for your finance, career, business relationship and people relationship.
Children of Chemistry — CAM en tournée - Sébastien Provencher - Danse
www.facebook.com/events/698802687218637
Presente dans le cadre du Conseil des arts de Montréal en tournee.
Du défilé de mode au terrain de football, de la féminité à l’hypermasculinité, CHILDREN OF CHEMISTRY est une pièce qui confronte, remet en question et émeut.
Dans une danse répétitive à l’unisson aux références populaires et sportives, le chorégraphe s’attaque avec humour aux stéréotypes et à la notion de virilité.
Une pièce captivante qui propose au spectateur d’imaginer le masculin autrement.
Chorégraphe : Sébastien Provencher
Interprètes: Alexandre Morin, Jossua Collin, Jean-Benoît Labrecque, Miguel Anguiano, Louis-Elyan Martin, Abe Simon Mijnheer, Gabriel Painchaud, Brian Mendez
Composition : Hani Debbache
Œil Extérieur : Helen Simard
Soutien financier : Conseil des arts et des lettres du Québec
Partenaires de création : Département de danse de l’UQAM, Département de théâtre de l’UQAM, Hexagram, Quartiers Danses, Circuit-Est, Espace Marie-Chouinard, Tangente Danse
Présenté en partenariat avec le programme Jouer dehors de La danse sur les routes du Québec.
#lartaucoeurdenosvies #bringingtheartstolife
Menger sponge
From Wikipedia, the free encyclopedia
An illustration of M4, the sponge after four iterations of the construction process
In mathematics, the Menger sponge (also known as the Menger cube, Menger universal curve, Sierpinski cube, or Sierpinski sponge)[1][2][3] is a fractal curve. It is a three-dimensional generalization of the one-dimensional Cantor set and two-dimensional Sierpinski carpet. It was first described by Karl Menger in 1926, in his studies of the concept of topological dimension.[4][5]
Construction
The construction of a Menger sponge can be described as follows:
Begin with a cube.
Divide every face of the cube into nine squares, like a Rubik's Cube. This sub-divides the cube into 27 smaller cubes.
Remove the smaller cube in the middle of each face, and remove the smaller cube in the center of the more giant cube, leaving 20 smaller cubes. This is a level-1 Menger sponge (resembling a void cube).
Repeat steps two and three for each of the remaining smaller cubes, and continue to iterate ad infinitum.
The second iteration gives a level-2 sponge, the third iteration gives a level-3 sponge, and so on. The Menger sponge itself is the limit of this process after an infinite number of iterations.
An illustration of the iterative construction of a Menger sponge up to M3, the third iteration
Properties
Hexagonal cross-section of a level-4 Menger sponge. (Part of a series of cuts perpendicular to the space diagonal.)
The n nth stage of the Menger sponge, M n M_{n}, is made up of 20 n {\displaystyle 20^{n}} smaller cubes, each with a side length of (1/3)n. The total volume of M n M_{n} is thus ( 20 27 ) n {\textstyle \left({\frac {20}{27}}\right)^{n}}. The total surface area of M n M_{n} is given by the expression 2 ( 20 / 9 ) n + 4 ( 8 / 9 ) n {\displaystyle 2(20/9)^{n}+4(8/9)^{n}}.[6][7] Therefore, the construction's volume approaches zero while its surface area increases without bound. Yet any chosen surface in the construction will be thoroughly punctured as the construction continues so that the limit is neither a solid nor a surface; it has a topological dimension of 1 and is accordingly identified as a curve.
Each face of the construction becomes a Sierpinski carpet, and the intersection of the sponge with any diagonal of the cube or any midline of the faces is a Cantor set. The cross-section of the sponge through its centroid and perpendicular to a space diagonal is a regular hexagon punctured with hexagrams arranged in six-fold symmetry.[8] The number of these hexagrams, in descending size, is given by a n = 9 a n − 1 − 12 a n − 2 {\displaystyle a_{n}=9a_{n-1}-12a_{n-2}}, with a 0 = 1 , a 1 = 6 {\displaystyle a_{0}=1,\ a_{1}=6}.[9]
The sponge's Hausdorff dimension is log 20/log 3 ≅ 2.727. The Lebesgue covering dimension of the Menger sponge is one, the same as any curve. Menger showed, in the 1926 construction, that the sponge is a universal curve, in that every curve is homeomorphic to a subset of the Menger sponge, where a curve means any compact metric space of Lebesgue covering dimension one; this includes trees and graphs with an arbitrary countable number of edges, vertices and closed loops, connected in arbitrary ways. Similarly, the Sierpinski carpet is a universal curve for all curves that can be drawn on the two-dimensional plane. The Menger sponge constructed in three dimensions extends this idea to graphs that are not planar and might be embedded in any number of dimensions.
The Menger sponge is a closed set; since it is also bounded, the Heine–Borel theorem implies that it is compact. It has Lebesgue measure 0. Because it contains continuous paths, it is an uncountable set.
Experiments also showed that cubes with a Menger sponge structure could dissipate shocks five times better for the same material than cubes without any pores.[10]
....the things of the earth exist only a little, and that true reality is only in dreams.
Words by Charles Baudelaire
♫ ~ Mystic's Dream ~ Loreena McKennitt
.
😎*** Check out my latest uploads from the 'SOUND & VISION' archives - Aviation Archive Two - sounds of the 70s - 45mins of live Air Traffic Control broadcasts + Aviation Archive Three - sounds of the 70s - 45mins of live Air Traffic Control broadcasts + Aviation Archive Four - sounds of the 70s - over an hour of live Air Traffic Control broadcasts ***😎
Find the latest recordings on SoundCloud here: soundcloud.com/sound-vision-10193594/aviation-archive-4-s...
here: soundcloud.com/sound-vision-10193594/aviation-archive-thr...
here: soundcloud.com/sound-vision-10193594/aviation-archive-2-s...
and you can find Aviation Archive One - sounds of the 70s - an hour of live Air Traffic Control broadcasts here: soundcloud.com/sound-vision-10193594/aviation-archive-1?s...
London Airport I found this very interesting aerial photograph of London Airport (Heathrow) taken in 1955. The photo clearly shows the two runways that I knew nothing about until I read the 1950s leaflet that I posted up recently!
When I read the leaflet and looked at the map, I was surprised to discover that there used to be SIX RUNWAYS! Not just 28L/10R, 28R/10l and 23L/05R which was ‘MY’ runway (with the approach going right over my house in Southall), but 23R/05L as well (which was disused by the 1970s) - AND parallel runways 15L/33R and 15R/33L. From the aerial photo, it looks as if 15R/33L was already disused.
Found some gen on these on Wiki:
'Early 1950s: Three more runways completed the hexagram; two runways would always be within 30° of the wind direction.’
'By 1961: Runway lengths: 28R/10L 9313 ft, 28L/10R had been extended west to 11000 ft, 23R/05L 6255 ft, 23L/05R 7734 ft, 33L/15R 7560 ft, 33R/15L not in use.'
'By 1970: Heathrow's two main east-west runways, 10L/28R and 10R/28L (later re-designated 09L/27R and 09R/27L) were extended to their current lengths to accommodate new large jets such as the Boeing 747. The other runways (i.e. 23R/05L 6255 ft, 33L/15R 7560 ft, 33R/15L) were closed to facilitate terminal expansion, except for Runway 23(L), which remained available for crosswind landings until 2002. For more info see: en.wikipedia.org/wiki/History_of_Heathrow_Airport#1960s
Enochian is an angelic language used by angels in Heaven. They communicate over angel radio using this language, though in more recent years, they began communicating in English predominately. The angels, the Knights of Hell, and the Men of Letters are also familiar with an archaic dialect of the angelic language called "Pre-Enochian" or "Old Enochian". Castiel used sigils from this Enochian dialect to bind Alastair in a devil's trap he made. The Knights of Hell like Abaddon used the old Enochian sigil associated with them as their crest, leaving it behind in areas where they strike. Belphegor reveals that very few demons like Lilith, Crowley, and Abaddon have been known to understand Enochian. Enochian sigils are powerful glyphs that can be used against angels and demons and protect an area from angelic and demonic interference. Throughout Season 5, Castiel uses one to conceal Sam, Dean, and Adam from every angel in creation by carving it into their ribs.
www.supernaturalwiki.com/Enochian
Enochian has also been used in reciting various spells that can be used against some of the most dangerous creatures in all creation. Lily Sunder became a practitioner of Enochian Magic after Ishim taught her all their secrets, using spells that burn off pieces of her soul in exchange for longevity and access to angelic powers until it's completely burned away. The Whore of Babylon uses what appears to be an Enochian spell to harm Castiel. Lucifer's Cage can be opened and closed with the rings of the Four Horsemen of the Apocalypse and an Enochian phrase. When angels are reverted to their "factory settings", they relay any information hidden in their minds encrypted in Enochian.
The Two of Swords shows a blindfolded woman, Pamela Smith has become an impetrant, she begins her initiation into Enochian magic, the artist is dressed in a white dress, holding two crossed swords. The blindfold tells us that Pamela is confused about her inner light and cannot clearly see either the problem or the solution. She may also be missing relevant information that would make her decision much clearer if she were to get it. The swords she holds are in perfect balance, suggesting that she is weighing her thoughts and addressing both sides of the situation to find the best resolution.
Behind the woman is a body of water dotted with rocky islets. Water represents emotions, and while the costume of swords is traditionally associated with the mind and intellect, its presence shows that Pamela must use both her head and her heart to weigh her options. The islands represent obstacles in his path and suggest that his decision is not as clear cut as it seems. It will have to consider the situation as a whole. The crescent moon to her right is a sign that Pamela should trust her intuition to make her choice. Pamela is also alone on the beach. His eyes are blindfolded, his arms are tied. Eight swords planted in the ground form a prison around her. However, the circle is not completely closed. So there is an exit that the blindfold prevents you from seeing. The Two of Swords indicates that you are faced with a difficult decision, but you do not know which option to take. Both possibilities may seem equally good – or equally bad – and you don't know which will lead you to the better result. You need to be able to weigh the pros and cons of each choice and then make a conscious judgment. Use both your head (your mind and intellect) and your heart (your feelings and intuition) to choose the path that is most in alignment with your Higher Self.
Pamela Smith represented in this card wears a blindfold, indicating that she cannot see the entirety of her circumstance. You may lack the information you need to make the right decisions. You may be missing something, such as the threats or potential risks, alternative solutions or critical pieces of information that would help guide you in a particular direction. Once you remove the blindfold and see the situation for what it really is, you will be in a much better position to find your best path forward. Research your options more, seek outside opinions and feedback and ask yourself what you might be missing.`` Alone, far from the city and its ramparts, this woman seems very isolated. The sky is gray, the landscape is bleak. There emerges from the Card a feeling of uncertainty and absence of hope. The Eight of Swords symbolizes the feeling of helplessness of the Consultant. Lost, disoriented, the Consultant does not know what to do to overcome the obstacles or challenges of his environment. The Consultant experiences the very unpleasant feeling of being “stuck”, trapped. However – and this is important to stress – the Eight of Swords is not a fatalistic card. On the Map, the young woman could free herself from her fabric ties and remove the blindfold covering her eyes. She could regain the comfort and safety of the city behind her. The blockage, the "prison" of these Swords planted in a circle therefore symbolize first of all a situation created by the Consultant himself. Quite logically, he or she could get rid of it and get by on his own. The blockage is notably due to limiting beliefs on the part of the Consultant. These limiting beliefs go on and on: “You are not capable of…”; “A man like that, caring about you!? Do not even think about it ! » ; "Returning to training at your age to change paths will never work..." These limiting thoughts end up defining our possibilities and therefore we are no longer able to do otherwise, innovate or find solutions. It also happens that the feeling of helplessness is generated by external circumstances. The Consultant “wakes up”, dissatisfied with his environment and his life and wonders how he or she could have come to this.The Eight of Swords reveals that you feel trapped and restricted by your circumstances. You believe your options are limited with no clear path out. You might be in an unfulfilling job, an abusive relationship, a significant amount of debt or a situation way out of alignment with your inner being. You are now trapped between a rock and a hard place, with no resolution available. However, take note that the woman in the card is not entirely imprisoned by the eight swords around her, and if she wanted to escape, she could. She merely needs to remove the blindfold and free herself from the self-imposed bindings that hold her back. When the Eight of Swords appears in a Tarot reading, it comes as a warning that your thoughts and beliefs are no longer serving you. You may be over-thinking things, creating negative patterns or limiting yourself by only considering the worst-case scenario. The more you think about the situation, the more you feel stuck and without any options. It is time to get out of your head and let go of those thoughts and beliefs holding you back. As you change your thoughts, you change your reality. Replace negative thoughts with positive ones, and you will start to create a more favourable situation for yourself. The Eight of Swords assures you there is a way out of your current predicament – you just need a new perspective. You already have the resources you need, but it is up to you to use those resources in a way that serves you. Others may be offering you help, or there may be an alternative solution you haven’t yet fully explored. Be open to finding the answer rather than getting stuck on the problem. The Eight of Swords is often associated with a victim mentality. You surrendered your power to an external entity, allowing yourself to become trapped and limited in some way. You may feel that it isn’t your fault – you have been placed here against your will. You may feel like the victim, waiting to be rescued, but is this energy serving you? If not, it is imperative you take back your power and personal accountability and open your eyes to the options in front of you. The fact is you do have choices, even if you do not like them. You are not powerless. At times, the Eight of Swords indicates that you are confused about whether you should stay or go, particularly if you are in a challenging situation. It is not as clear-cut as you would like, making the decision very difficult. You have one foot in, hoping things can work out, but your other foot is out the door, ready to leave. The trouble is that you worry either option could lead to negative consequences, and so you remain stuck where you are. Again, this card is asking you to get out of your head and drop down into your gut and your intuition so you can hear your inner guidance. Your thoughts are not serving you right now, but your intuition is. Trust yourself. In any case, it is necessary to "take back control" of the circumstances and to remember that in life, we always have a choice. The possibilities in front of you may not be ideal, easy or desired… but they exist! You have to be able to look them in the face, and choose the best… or the least bad.
www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...
www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...
In 1903 Waite succeeded Yeats as Grand Master of the Golden Dawn. His first act under his new status was a reform of the fundamental principles of the Order: he proclaimed the primacy of spiritual achievement (emphasis on esoteric knowledge and the search for Truth) over material fulfillment (which occultism in general, and magic in particular, presupposes). Seeing in this act of negating the very foundation of the Golden Dawn (namely the practice of the occult sciences) the outright annihilation of the Order, former Grand Master Yeats strongly opposed Waite.
Two camps were then formed: one bringing together the supporters of the reform and represented by William Alexander Ayton, (relatively fearful in terms of operability), Waite's right-hand man, and the other bringing together, alongside the former Grand Mr. Yeats, the curators. The feud lasted two years, after which the Yeats camp ended up going on to found its own order (La Stella Matutina, the "Morning Star")—a perfect transposition of the Golden Dawn before Waite's reform, seceding from what took then the name of Holy Order of the Golden Dawn ("Holy Order of the Golden Dawn"; the expression "holy order" illustrating more the new mystical tendencies instilled by Waite) and which continued to be shaken by internal strife until disbanded in 1915, following Waite's departure.
After this "schism of 1905", which was the real coup de grace for the Hermetic Order of the Golden Dawn, certain initiates who had remained neutral in the struggle between Camp Yeats and Camp Ayton preferred to go and found, alone or in groups, their own brotherhood.
Arthur Edward Waite (1857-1942), wanted to be a true scholar in occultism. He wrote, among other things, "The Holy Kaballah" and "The Key to the Tarot", published in London in 1910. For Waite, symbolism is the key to the Tarot. In "The Key to the Tarot" he says, "True tarot is symbolic; it uses no other languages or other signs". One of the unique characteristics of the Arthur Edwart Waite tarot and one of the main reasons for its popularity is that all the cards, including those of the Minor Arcana, depict scenes complete with figures and symbols. The images of all Pamela Coman-Smith's cards lend themselves to an interpretation based on the conscious and unconscious reading of the scene, without the need to consult explanatory texts.
What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.The Tarots of Wirth and Knapp Hall are to be considered to be Tarots based on "hermetic science". A science which will be strongly included in the broad fields of esoteric exploration to which the golden dawn will give access...The first decks that can be designated as decks born from the ideologies of the Golden Dawn and created according to their cosmogony is undoubtedly the Tarot Rider-Waite... It is the result of a long and meticulous research on esoteric symbols and their correspondence.
But the first member of the Hermetic Order of the Golden Dawn to have designed a Tarot is obviously doctor Gérard Encausse, Papus, who joined the members of the Hermetic Order of the Golden Dawn in 1895. The Papus tarot would have been designed around 1899... At the beginning, it was certainly reserved for a few insider circles only... It was seen for the first time in illustration in the works of Papus, among others in "Le Tarot des Bohémiens , absolute key to the occult sciences" (1889), but the book will only be really known and accessible to the general public from its 3rd edition published in 1926. Then will follow the work "The divinatory tarot. Key to card printing and fates" (1909), reissued in large circulation also the same year of 1926. From then on, the Tarot of Papus will gain much popularity and the public will seek to obtain it... The Tarot of Papus will be diffused little by little print from the 1930s.
While the tarots of Papus, Wirth and the Knapp Hall were appearing almost simultaneously, the renowned house of Grimaud, for its part, was preparing to publish the Tarot which would become the reference for the general public, it was this famous modified reproduction of the Conver, proposed by Paul Marteau. It will appear in 1930 and will become the most fashionable tarot... Despite the modifications made to this Tarot, it has no affiliation with occult groups and is intended to be a Tarot in the tradition of the Tarot de Marseille.
That said, the Tarot which will set the tone and which will be the reference for the members of the Golden Dawn is undoubtedly the Tarot developed by Rider and Waite.
There are already a hundred decks that derive directly from the tarot originally designed by Rider-Waite. Not to mention pirated copies, clones, etc... This tarot has long been a reference for budding occultists and kabbalists... It still is...
So, in fact, there are many tarots that were designed in the ideology of the Golden Dawn!!!
It will first be the Tarot of Aleister Crowley which, following the Rider-Waite, will stand out and bring modifications to the "esoteric" Tarot, always with reference to the Golden Dawn, to the Kabbalah, to ancient Egypt initiates, etc... With in addition, references to sexual magic...The members of the Golden Dawn mainly used the Tarot of Waite, but during the 1950s, 1960s, they put a lot of effort into creating a Tarot that could finally be directly linked to the precepts and esoteric teachings of the Golden Dawn... A Tarot which originally wanted to be, once again, a Tarot exclusively reserved for members of the Order. This is the famous "Tarot of the Golden Dawn", so the Tarot which wants to be "officially" attested by the order...
But beware !! This name known as "Tarot of the Golden Dawn" is confusing... Several Tarots are decked out with the label "of the Golden Dawn"...
In truth, of all these tarot cards there is only one that is truly recognized by the Hermetic Order of the Golden Dawn and as such, and that is the one developed by Israel Regardie and Robert Wang from esoteric works of Samuel Liddel Matthers.
Robert Wang will also create the "Jungian Tarot", very appreciated also by the followers of the Golden Dawn; and perhaps even more by those interested in "modern theosophy" and in the principles elaborated by Jung.
The "Jungian Tarot" is quite similar to the so-called "Golden Dawn" Tarot, but is intended more for "personal evolution" than for the initiatory journey of the Order, strictly speaking... In truth these two tarots are the results of extensive research in matters of esotericism, research that has been carried out by the study centers of the Hermetic Order of the Golden Dawn. Its construction, on the basis of the four elements, the celestial phenomena, the Holy Kabbalah, and a highly evolved psychology, can apparently lead its followers into the inner recesses of psychic and intuitive awareness.
Above all, this tarot can be used as a basis for occult study, in order to learn to possess all the aspects of the traditional "center-wisdom", and "high-science" kabbalistic... (There are many Rosicrucian references , and also references to Freemasonry and alchemy).
Originally, the Golden Dawn Tarot was only reserved for members of the official Order. It began to be broadcast from 1975.
Despite the claim of these creators, it should still be known that the vast majority of members of the Hermetic Order of the Golden Dawn, will study the Tarot from the "Tarot B.O.T.A.", or the original Rider-Waite. What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.
THE TAROT B.O.T.A.
It is actually a very special version of the Rider-Waite Tarot presented in a "black and white" version, and the members were invited to color their own tarots... The study of symbolism esoteric was first done using this Tarot Rider-Waite in its original version (in black and bench). Indeed, the Waite-Rider Tarot in its black and white version is the most used by Golden Dawn followers and should be considered the official Golden Dawn Tarot.
A nearly similar version is still used by members of the B.O.T.A. and followers of hermetic schools. (The initials B.O.T.A. mean "Builders of the Adytum", it is a traditional and fraternal association founded by Paul Foster Case, continued and extended by Ann Davies...
A popular theory is that author William Walker Atkinson co-wrote the legendary "Kybalion" tome with Paul Foster Case. This theory is often defended by members of the "Builders of the Adytum". B.O.T.A. offers courses and techniques based on the study of the mystical teachings of the Holy Qabalah and TAROT. In fact, this confusing story about the Tarot B.O.T.A. and writing the "Kybalion", seems to have started with a breakaway group from the B.O.T.A., "The Brotherhood of Hidden Light" (which emphasizes the "secret (or lost) knowledge of the sages of Atlantis") .
The members of the Golden Dawn like the members of the B.O.T.A., consider that the Rider-Waite tarot is the ultimate "reference"...
secretsdutarot.blogspot.com/2013/01/les-tarots-dits-de-la...
This dissertation seeks to define the importance of Waite’s interpretation of mediaeval and Renaissance esoterica regarding the contacting of daemons and its evolution into a body of astrological and terrestrial correspondences and intelligences that included a Biblical primordial language, or a lingua adamica. The intention and transmission of John Dee’s angel magic is linked to the philosophy outlined in his earlier works, most notably the Monas Hieroglyphica, and so this dissertation also provides a philosophical background to Dee’s angel magic. The aim of this dissertation is to establish Dee’s conversations with angels as a magic system that is a direct descendant of Solomonic and Ficinian magic with unique Kabbalistic elements. It is primarily by the Neoplatonic, Hermetic, Kabbalistic, and alchemical philosophy presented in the Monas Hieroglyphica that interest in Dee’s angel magic was transmitted through the Rosicrucian movement. Through Johann Valentin Andreae’s Chymische Hochzeit Christiani Rosencreutz anno 1459, the emphasis on a spiritual, inner alchemy became attached to Dee’s philosophy. Figures such as Elias Ashmole, Ebenezer Sibley, Francis Barret, and Frederick Hockley were crucial in the transmission of interest in Dee’s practical angel magic and Hermetic philosophy to the founders of the Hermetic Order of the Golden Dawn.
Enochian Angel Magic: From John Dee to the Hermetic Order of the Golden Dawn www.academia.edu/921740/Enochian_Angel_Magic_From_John_De...
The rituals of the Golden Dawn utilized Dee’s angel magic, in addition to creative Kabbalistic elements, to form a singular practice that has influenced Western esoterica of the modern age. This study utilizes a careful analysis of primary sources including the original manuscripts of the Sloane archives, the most recent scholarly editions of Dee’s works, authoritative editions of original documents linked to Rosicrucianism, and Israel Regardie’s texts on Golden Dawn practices."In Whose hands the Sun is as a sword, and the Moon as a through- thrusting fire." An elegant equation, defining the parameters of the. creation. The god declares dominion over planetary forces (Sun-Moon) and elemental forces (fire-air). He also declares control over the two types of dualities: those in which one pole is projective and the other responsive (Sun-Moon) and over those in which two forces of similar polarity are balanced (fire-air). Within the area of creation, the positive pole is attributed to the element of swords, Air, and the anti-positive pole is attributed to the element of Fire. This is reflected in the precedence followed by the elements throughout the Tablets and Calls: Air first, then Water, Earth, and Fire. "Which measure your garments in the midst of my vestures..." The word translated here as "garments" is used uniformly to mean "creation" or "being" elsewhere in the Keys. Another word is used for
"garments" in the next sentence of this same Key. Another word is also used for "midst" further on in this Key. So the translation here is questionable. A magickal image given to define this phrase shows the scene through the god's eyes as he pulls endless threads of living light out of a lamen on his chest.
Enochian magic is a system of ceremonial magic based on the 16th-century writings of John Dee and Edward Kelley, who wrote that their information, including the revealed Enochian language, was delivered to them directly by various angels. Dee's journals contain the record of these workings, the Enochian script, and the tables of correspondences used in Enochian magic. Dee and Kelley believed their visions gave them access to secrets contained within Liber Logaeth, which Dee and Kelley referred to as the "Book of Enoch".In the early 1580s, John Dee had become discontented with his progress in learning the secrets of nature. Dee wrote: I have from my youth up, desired and prayed unto God for pure and sound wisdom and understanding of truths natural and artificial, so that God's wisdom, goodness, and power bestowed in the frame of the world might be brought in some bountiful measure under the talent of my capacity... So for many years and in many places, far and near, I have sought and studied many books in sundry languages, and have conferred with sundry men, and have laboured with my own reasonable discourse, to find some inkling, gleam, or beam of those radical truths. But after all my endeavours I could find no other way to attain such wisdom but by the Extraordinary Gift, and not by any vulgar school, doctrine, or human invention. Enochian magic involves the evocation and commanding of various spirits.He subsequently began to turn energetically towards the supernatural as a means to acquire knowledge. He sought to contact spirits through the use of a scryer or crystal-gazer, which he thought would act as an intermediary between himself and the angels. Dee's first attempts with several scryers were unsatisfactory, but in 1582 he met Edward Kelley (1555–1597/8), then calling himself Edward Talbot to disguise his conviction for "coining" or forgery, who impressed him greatly with his abilities.Dee took Kelley into his service and began to devote all his energies to his supernatural pursuits. These "spiritual conferences" or "actions" were conducted with intense Christian piety, always after periods of purification, prayer and fasting. Dee was convinced of the benefits they could bring to mankind. The character of Kelley is harder to assess: some conclude that he acted with cynicism, but delusion or self-deception cannot be ruled out. Kelley's "output" is remarkable for its volume, intricacy and vividness. Through Kelley, the angels laboriously dictated several books in this way, some in a previously unknown language which Dee called Angelical — now more commonly known as Enochian.The two pillars of modern Enochian magic, as outlined in Liber Chanokh, are the Elemental Tablets (including the "Tablet of Union") and the Keys of the 30 Aethyrs. The Enochian model of the universe is depicted by Dee as a square called "The Great Table" (made up of the 4 Elemental Tablets and incorporating the Tablet of Union), surrounded by 30 concentric circles representing the 30 Aethyrs or Aires. The Angelical Keys:
The essence of Enochian magic involves the recitation of one or more of nineteen Angelical Keys, which are also referred to as Calls. These keys are a series of rhetorical exhortations which function as evocations when read in the Enochian language. They are used to effect the "opening of 'gates' into various mystical realms." The first eighteen keys are used to 'open' the realms of the elements and sub-elements, which are mapped onto the quadrants and sub-quadrants of the Great Tablet.[clarification needed][citation needed]. The nineteenth key is used to 'open' the Thirty Aethyrs. The Aethyrs are conceived of as forming a map of the entire universe in the form of concentric rings which expand outward from the innermost to the outermost Aethyr. The Great Table: The angels of the four quarters are symbolized by the Elemental Tablets — four large magical word-square Tables (collectively called "The Great Table"). Most of the well-known Enochian angels are drawn from the Elemenal Tablets of the Great Table. Each of the four tablets (representing the Elements of Earth, Air, Fire and Water), is collectively "governed" by a hierarchy of spiritual entities which runs (as explained in Crowley's Liber Chanokh) as the Three Holy Names, the Great Elemental King, the Six Seniors (aka Elders) (these make a total of 24 Elders as seen in the Revelation of St. John), the Two Divine Names of the Calvary Cross, the Kerubim, and the Sixteen Lesser Angels. Each tablet is further divided into four sub-quadrants (sometimes referred to as 'sub-angles') where we find the names of various Archangels and Angels who govern the quarters of the world. In this way, the entire universe, visible and invisible, is depicted as teeming with living intelligences. Each of the Elemental tablets is also divided into four sections by a figure known as the Great Central Cross. The Great Central cross consists of the two central vertical columns of the Elemental Tablet (the Linea Patris and Linea Filii) and the central horizontal line (known as the Linea Spiritus Sancti). In addition to the four Elemental Tablets, a twenty-square cell known as the Tablet of Union (aka The Black Cross, representing Spirit) completes the representation of the five traditional elemental attributes used in magic - Earth, Air, Water, Fire and Spirit. The Tablet of Union is derived from within the Great Central Cross of the Great Table. The Thirty Æthyrs : The 30 Aethyrs are numbered from 30 (TEX, the lowest and consequently the closest to the Great Table) to 1 (LIL, the highest, representing the Supreme Attainment. Magicians working the Enochian system record their impressions and visions within each of the successive Enochian Aethyrs. Each of the 30 Aethyrs is populated by "Governors" (3 for each Aethyr, except TEX which has four, thus a total of 91 Governors). Each of the governors has a sigil which can be traced onto the Great Tablet of Earth.
The Holy Table: a table with a top engraved with a Hexagram, a surrounding border of Enochian letters, and in the middle a Twelvefold table (cell) engraved with individual Enochian letters. According to Duquette and Hyatt, the Holy Table "does not directly concern Elemental or Aethyrical workings. Angels found on the Holy Table are not called forth in these operations."
The Seven Planetary Talismans: The names on these talismans (which are engraved on tin and placed on the surface of the Holy Table) are those of the Goetia. According to Duquette and Hyatt, "this indicates (or at least implies) Dee's familiarity with the Lemegeton and his attempt, at least early in his workings, to incorporate it in the Enochian system."] As with the Holy Table, Spirits found on these talismans are not called forth in these operations. The Sigillum dei Aemeth, Holy Sevenfold Table, or 'Seal of God's Truth': The symbol derives from Liber Juratus (aka The Sworn Book of Honorius or Grimoire of Honorius, of which Dee owned a copy). Five versions of this complex diagram are made from bee's wax, and engraved with the various lineal figures, letters and numbers. The four smaller ones are placed under the feet of the Holy Table. The fifth and larger one (about nine inches in diameter) is covered with a red cloth, placed on the Holy Table, and is used to support the "Shew-Stone" or "Speculum" (crystal or other device used for scrying). Scrying is an essential element of the magical system. Dee and Kelly's technique was to gaze into a concave obsidian mirror. Crowley habitually held a large topaz mounted upon a wooden cross to his forehead. Other methods include gazing into crystals, ink, fire or even a blank TV screen.Little else became of Dee's work until late in the nineteenth century,[citation needed] when it was incorporated by a brotherhood of adepts in England. The rediscovery of Dee and Kelley's material by Samuel Liddell MacGregor Mathers of the Hermetic Order of the Golden Dawn in the 1880s led to Mathers developing the material into a comprehensive system of ceremonial magic. Magicians invoked the Enochian deities whose names were written on the tablets. They also traveled in their bodies of light into these subtle regions and recorded their psychic experiences. The two major branches of the system were then grafted on to the Adeptus Minor curriculum of the Golden Dawn.
According to Aleister Crowley, the magician starts with the 30th aethyr and works up to the first, exploring only so far as his level of initiation will permit. According to Chris Zalewski's 1994 book, the Golden Dawn also invented the game of Enochian chess, in which aspects of the Enochian Tablets were used for divination. They used four chessboards without symbols on them, just sets of colored squares, and each board is associated with one of the four elements of magic. Florence Farr founded the Sphere Group which also experimented with Enochian magic.Aleister Crowley's work with Enochian magick generally follows the Golden Dawn system. He is known primarily for his explorations of the 30 Aethyrs, published in "The Vision and the Voice". This work established the idea that Aethyr might represent a means of initiation, and set a standard for methodical exploration, which few have equaled. It also fixed Crowley's particular perspective on the process of transcendence in the minds of many students of the occult. Crowley envisioned the Aethyr as being related to the sephiroth of the tree of life in groups of three. He also mentions that each Aethyr "bends" into the next Aethyr above it, in a way, so that in progressing through the Aethyrs from the last to the first, one also withdraws one's being from the lower levels and already experienced (this is parallel to the technique he describes in the Liber Yod, in which the magician achieves union with the deity by gradually banishing all other levels and powers.Under this conception the Aethyrs ZAX, whose parts have names formed from the cross of union, is the highest of the three attributed to Chesed. Thus, it is the last Aethyr encountered before entering the Supernal Triad and achieving transcendence. Crowley envisioned this movement as crossing an "abyss" or space, during which the magician encounters an Enochian devil named Choronzon dwelling therein. Crowley's other contribution to Enochian magick was adapting the pyramid system of the GD for use with the sex magick of the O.T.O. In this technique, physical representations of the pyramids are made for an angel's name, but inverted to form the square "cups". These serve as talismans, which are charged using the end product of the sex magick operation.
Paul Foster Case (1884–1954), an occultist who began his magical career with the Alpha et Omega, was critical of the Enochian system. According to Case, the system of Dee and Kelley was partial from the start, an incomplete system derived from an earlier and complete Qabalistic system, and lacked sufficient protection methods. Case believed he had witnessed the physical breakdown of a number of practitioners of Enochian magic, due to the lack of protective methods. When Case founded his own magical order, the Builders of the Adytum (B.O.T.A.), he removed the Enochian system and substituted elemental tablets based on Qabalistic formulae communicated to him by Master R.The first Enochian Key or Call is a recapitulation of the steps by which the creator of the system brought it into being. The Key follows the same macrocosmic-to-microcosmic progression used in the example consecration ritual, but then supplements this with a response from the microcosm directed at the macrocosm. Note that the description of the downward current contains seven significant phrases, suggesting the planets and sun, the macrocosm, while the description of the response contains five significant phrases, suggesting the four elements and elemental spirit, the microcosm."...and trussed you together as the palms of my hands." The magickal image continues by showing the god gathering the fibers of light into a bundle or cable. The god concentrates the energies within the area of work in preparation for shaping."Whose seats I garnished with the fire of gathering, which beautified your garments with admiration." Having generated the positive or spiritual pole of the creation, the god now looks to the anti-positive or material pole. The "seats" are the squares of the tablets in their two-dimensional form. The god embodies a part of his will in the Tablets, defining the order and place to which the spiritual energies will be attracted and attached. When the energies are attached to the Tablets, the pattern of will embodied in the Tablets extends back along their path to the positive pole, conditioning all the perceptible expressions (the "garments") of the energies.. The usual assumption of later magicians (which is not universally accepted) is that the remaining Calls refer to the "Minor Angles" within the Tablets.
The Golden Dawn method of associating the Callings with the tablets and Lesser Angles has become the accepted "standard". Donald Tyson recently proposed an alternative method which has received some attention
en.wikipedia.org/wiki/Enochian_magic
SUMMARY OF PATH POSITIONS IN ACHAD'S TREE OF LIFE
Path Trump Connects with:
Aleph The Fool Malkuth Yesod
Beth The Magician Malkuth Hod
Gimel The Priestess Yesod Hod
Daleth The Empress Malkuth Netzach
Heh The Emperor Tiphereth Geburah
Vav The Hierophant Hod Netzach
Zain The Lovers Hod Tiphereth
Cheth The Chariot Yesod Netzach
Teth Strength Netzach Tiphereth
YodT he Hermit Hod Geburah
Kaph The Wheel of Fortune Kether Chokmah
Lamed Justice Netzach Chesed
Mem The Hanged Man Yesod Tiphereth
Nun Death Geburah Chesed
Samek Temperance Chesed Chokmah
AyinThe DevilTiphereth Binah
PehThe Tower Geburah Binah
Tzaddi The Star Binah Chokmah
Qoph The Moon Tiphereth Chesed
Resh The Sun Tiphereth Chokmah
Shin Judgement Kether Tiphereth
TauT he Universe Kether Binah
"To whom I made a law to govern the holy ones," The word translated as "holy ones" appears to derive from the same root as the enochian words for "fire", suggesting that the holy ones are those who possess the spiritual will. The god specifies the manner in which his creation will respond to the mages and adepts."Moreover, you lifted up your voices and sware obedience and faith..."The connection between the two poles having been made, and the conditions of their interaction being set, the angels of the creation voice their response to the god, swearing to continue to follow the god's will. "...to him that liveth and triumpheth," The spirits of the Tablets affirm the existence of their creator by saying that he lives, and affirm the success of the act of creation by saying that he triumphs. The echoing of the god's statements by the spirits of the tablets also suggests that the conditions the god laid on the creation as a whole
are reflected in miniature within the creation. It shall be shown that this is the case with the Tablets as we proceed.In the remainder of the Key, the magician using it calls upon the
spirits to respond to him fully and openly. The word translated here as "servant" might be better rendered as "minister" or "representative". The magician asserts that he has a right to demand a response from the spirits because his acts are in accord with the will of their creator.
www.sacred-texts.com/eso/enoch/1stkey.txt
Angelic chatter, but very little solid information. Additionally, the reader must deal with forays into apocalyptic religion, Elizabethan politics, Dee's and Kelly's personal issues, and the various irrelevant issues Dee insisted on inserting into the work. Chronologically, Dee and Kelly's work falls into three highly productive periods separated by months when nothing of particular value was received. The material received in each period generally stands on its own, and is only loosely related to that of the other periods. but the term is often applied to all work. First Period: The Heptarchia Mystica. Equipment: Ring, Lamen, and Holy Table The angels claimed that the ring they designed for Dee was the same one used by Solomon to control demons. The ring had a full band, to which was attached a rectangular plate. The letters PELE (coming from Latin for "he will do miracles") were inscribed in the four corners. In the center was a circle crossed by a horizontal line, with the letter "V" inscribed above and the letter "L" below. Two different lamens were given to Dee. The first bears a generic resemblance to various sigils of goetia being an assortment of free-form lines and oddly placed letters. The giving being indicated that it was to be made of gold and worn every time and place for the purpose of protection. given by an evil spirit. During the spring session of 1583, the angels indicated that a session had been scheduled in which detailed instructions would be given for the use of Heptarchic magick. If this session took place, it is not in the records that have survived; but some idea of the general technique can be gathered from the comments in other parts of the recording. The magician would be seated at the Holy Table, wearing the ring and lamen. table in front of him. He would hold an appropriate Heptarchic king's talisman in one hand, with a talisman of the names of the king's ministers placed beneath his feet. The magician would then invite the king with petition and prayer, followed by petitions to his prince, and invocations of the six chief ministers. They would appear in the stone of clairvoyance, whereupon the magician would instruct them to accomplish the task he desired.The Liber Loagaeth is the most mysterious part of Dee and Kelly's work. It is also known by different names like
book of Enoch and the Liber Mysteriorum Sextus et Sanctus. So far no one has seriously attempted to use it, or to understand its nature, beyond what is found in the diaries. According to the angels, "loagaeth" means "speech of God", this book is supposed to be, literally, the words by which God created all things. It is supposed to be the language in which the "true names" of all things are known, giving power over them. As described in the Liber Mysteriorum Quintis, the book was to consist of 48 "leaves", of which each contains a 49x49 grid. Infact, the book actually presented to Kelly is somewhat different. It contains 49 "invocations" in an unknown language, 95 square tables filled with letters and numbers, 2 similar tables not filled, and 4 drawn tables twice the width of the others. 2 "leaves" are recorded, but these are not included in the final book, and apparently serve as an introduction or prologue to the work. this term. There is no translation by which this could be judged in detail, but the text lacks the logical repetitions and word placements which are characteristic of the 48 Enochian invocations given in later years. There is no apparent grammar in the text. Donald Laycock remarks that the language is strongly alliterative and repetitively rhyming, while Robert Turner calls it "glossolalic". many "languages", all being spoken immediately. The purpose of the Loagaeth has been said to be the unleashing/introduction of a new age on earth, the last age before the end of all things. Instructions for use for this purpose were never given; the angels continually put it off, saying that only God could decide when the time has come. During the presentation of the two leaves of the Liber Mysteriorum Quintis, in the stone of clairvoyance an angel moved successively towards letters, and Kelly pronounced the names of the angelic character. Dee transcribed a version using the Roman alphabet, apparently with the intention of redoing it in angelic characters at a later date. of Kelly; this light was seen by both of them. Once the light entered Kelly's head, his consciousness was transformed so that he could understand the text as he read it. He was strongly commanded not to provide a translation, explaining that God would choose the time for it to be revealed. He provided the translation of a few of the words, but it was insufficient to capture the meaning of the text as a whole. When the light withdrew from Kelly's head, he immediately ceased to understand the text, and could no longer see it in the stone. On a few occasions, the light continued to work within him for a short time after the session ended, and at those times Dee noticed that Kelly said many wonderful (and unrecorded) things about the nature of the texts. But the moment the light went out, Kelly couldn't understand it anymore, nor remember what he had said during the previous moment. The record indicates that the 23rd line of the first leaf was a preface to the creation and distinction of the angels, and the 24th line a pleasant invitation to the good angels. Nothing else is recorded concerning the purpose of this book.
Enochian Magic and the Apocalypse
There are 2 major threads of thought in Christian millennialism. One thread, called postmillennialism, is largely utopian in nature. He sees the millennium as the beginning of a period of progressive perfection of conditions on Earth; the basic principle is that the world must be perfected and the city of God built on earth before Christ returns, and only after Christ returns will the world end. Two decades after Dee, this form of millennialism was the driving force behind the religious groups shoeing the English colonization of America. Dee's own thought contains many post-millennial ideals in the search for Enochian magick, one of his goals was to gain means to bring earthly governments and societies to God's design, thereby bringing the return of Christ closer. quickly. The other thread, called premillennialism, is the more catastrophic variety. In this version, the typical scenario is the return of Christ, and then mankind's current "evil" societies will be destroyed in worldwide disasters, while the elect are preserved from evil. After the world is destroyed, Christ will join the faithful in a city built by God to rule over the earth for a thousand years. While there is a strong millennial flavor to the angel's statements, they are almost uniformly of the postmillennial variety. The angels divided the world into four ages. The first of these ages began with the creation and ended with the flood; the second ended with the appearance of Christ. The revelation of Liber Loagaeth ended the third age and triggered the final age, in which the world would be brought to perfection before Christ's return. . A particular passage makes this clear.
The Enochian Magical System of Golden Dawn
Regardie, Israel, The Golden Dawn, Llewellyn Publications, 1971, St Paul, MN. Reprinted at regular intervals. Contains detailed descriptions of the Enochian Magical System developed from GD. Zalewski, Pat. Golden Dawn Enochian Magic, Llewellyn Certainly there are influences of the Qabalah (the Sigillum Dei Aemeth, the communications of Uriel, Michael...) but this is not the originality and the strength of the system. Some practitioners of Enochian magic said that it was a Qabala (when I hear a Qabala I tend to write Kabbalah, like in the theater) that put into action the world of Atziluth, the highest of the four Qabalah classic. It's quite difficult to verify...even ! (See the introduction to the Necrono-micon at Belfond Editions).
But back to Enochian magick proper. The successors of the G.. D.. today reorganize its system and Schueler in his Enochian Magic) gives the material and the rituals "step by step" ("step by step"). Americans (and us too) like to practice if it is simple and impressive... The investigation by Enochian magic generally gives results, we cannot really say that they are controllable since they do not correspond to any standard of experiences already lived by the inventors of this practice.
Be that as it may, the Enochian, this language with its grammar and its syntax, this magical system and its original Theogony, remains a mystery that should not be taken for a simple variant of this or that traditional system already known. It is therefore useful when approaching it to master the fundamental elements which are used for its use without being subservient to the rituals of the pentagrams and hexagrams, to their signs, to the notions of Qabala of the G., D.., etc. This will make it possible to know what is original or what is borrowed in the Enochian, and what one can think of such or such contemporary development. A culture that will provide some points of reference in our consumer society where the practice of magic has much in common with video games or the daily television session.
In this, the most honorable goal (if it can be a question of honour) is the success of the experience known as the "Knowledge and Conversation of the Holy Guardian Angel", i.e. contact with one's true will, devoid of intention, in other words his heart. But it also applies to solving the various problems of life. After all, a magic is white or black only according to the use that is made of it... Let's say that we are still far from the religious John Dee. In fact not, for if Dee's conscious aims and methods were very far from those of our contemporaries, would ultimately the adventures and misadventures of his life, the problem of his relationship with Kelly evidently culminating in the ritually ordered exchange what they did with their wives would not be indications that this practice was beginning to ferment the elements of their consciences into a quintessential non-conformist?
MATTHEW LEON.
This text constitutes the introduction to the "Book of the gathering of forces" Editions RAMUEL 1994
Today we can no longer answer, lacking the benchmarks of a conventional morality no longer existing in the heart of the modern magician. But what is left? On what do we base ourselves if our practice has not yet allowed us an unambiguous contact with our heart, if our magical training lets us wander in the imagination that we have shaped? Publications 1990, St Paul, MN.
Synesthesia (American English) or synaesthesia (British English) is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway. People who report a lifelong history of such experiences are known as synesthetes. Awareness of synesthetic perceptions varies from person to person. In one common form of synesthesia, known as grapheme–color synesthesia or color–graphemic synesthesia, letters or numbers are perceived as inherently colored.In spatial-sequence, or number form synesthesia, numbers, months of the year, or days of the week elicit precise locations in space (e.g., 1980 may be "farther away" than 1990), or may appear as a three-dimensional map (clockwise or counterclockwise). Synesthetic associations can occur in any combination and any number of senses or cognitive pathways. Little is known about how synesthesia develops. It has been suggested that synesthesia develops during childhood when children are intensively engaged with abstract concepts for the first time. This hypothesis—referred to as semantic vacuum hypothesis—could explain why the most common forms of synesthesia are grapheme-color, spatial sequence, and number form. These are usually the first abstract concepts that educational systems require children to learn. The earliest recorded case of synesthesia is attributed to the Oxford University academic and philosopher John Locke, who, in 1690, made a report about a blind man who said he experienced the color scarlet when he heard the sound of a trumpet. However, there is disagreement as to whether Locke described an actual instance of synesthesia or was using a metaphor. The first medical account came from German physician Georg Tobias Ludwig Sachs in 1812. The term is from the Ancient Greek σύν syn, 'together', and αἴσθησις aisthēsis, 'sensation'.
en.wikipedia.org/wiki/Synesthesia
When Pamela Coleman Smith was attending the Pratt Institute of Art, she realized that she possessed a high degree of sound-color synesthesia, i.e., she was able to visualize colors and forms while listening to music and could transmit those visualizations into tangible works of art. Modern psychologists define synesthesia as a crossing-over of sensory input. Depending upon the type of synesthesia, individuals are able to hear colors, see music, smell words, etc. Many people, particularly artists, possess this phenomenon to some extent; however, Pamela possessed sound-color synesthesia to an exceptionally high degree. She was able to create sound paintings just by unconsciously drawing while listening to passages of music. She embodied the Symbolist ideal in this area. Many examples of her work in this area have survived, including three watercolors in the possession of the Stieglitz/Georgia O'Keeffe Archive. In July 1908, an article appeared in The Strand Magazine entitled "Pictures in Music." The article included six black and white images of her music paintings (see below) and provided a long quotation by her which described how her art was created. A pertinent excerpt from that article is as follows: Do you see pictures in music? When you hear a Beethoven symphony or a sonata by Schumann, do mystic human figures and landscapes float before your eyes ? It is by no means new or uncommon for a composer to have a distinct picture in his mind when he sets himself to create a work. Schumann saw children at play in an embowered wood, dancing merrily until, lo ! the sudden advent of a satyr sent them shrieking to their homes. Few, however, have been able to delineate their hallucinations born of music.
Mendelssohn, who was no mean draughtsman, was often asked to do so, but always refused. "It is like asking a sculptor to paint a portrait of his statue," he once said. " All art is one, just as the human body is one, but each of the members has its functions. It is the function of music to hear, not to see." Nevertheless, it is highly interesting to see music translated in the terms of a sister art, and this is what a clever artist, Miss Pamela Colman Smith, has done, in pictures which are published now for the first time in The Strand Magazine. Many of the compositions selected by the artist will instantly be recognized as conveying, in quite a surprising way, a vivid idea of the music as a whole. Every reader can ascertain for himself whether he possesses this peculiar psychic gift—this power of conjuring up music pictures. When you next hear a famous sonata, close your eyes and see what, if any, "pictures" pass before the eye of your brain. Under the magical influence of music the soul has glimpses of wondrous shapes, lit by the light that never was on sea or land. "You ask me how these pictures are evolved," said Miss Colman Smith. "They are not pictures of the music theme — pictures of the flying notes—not conscious illustrations of the name given to a piece of music, but just what I see when I hear music—thoughts loosened and set free by the spell of sound. "When I take a brush in hand and the music begins, it is like unlocking the door into a beautiful country. There, stretched far away, are plains and mountains and the billowy sea, and as the music forms a net of sound the people who dwell there enter the scene; tall, slow-moving, stately queens, with jewelled crowns and garments gay or sad, who walk on mountain - tops or stand beside the shore, watching the water - people. These water-folk are passionless, and sway or fall with little heed of time; they toss the spray and, bending down, dive headlong through the deep. "There are the dwellers, too, of the great plain, who sit and brood, made of stone and motionless; the trees, which slumber till some elf goes by with magic spear and wakes the green to life ; towers, white and tall, standing against the darkening sky— Those tall white towers that one sees afar, Topping the mountain crests like crowns of snow. Their silence hangs so heavy in the air That thoughts are stifled. "Then huddling crowds, who carry spears, hasten across the changing scene. Sunsets fade from rose to grey, and clouds scud across the sky. "For a long time the land I saw when hearing Beethoven was unpeopled; hills, plains, ruined towers, churches by the sea. After a time I saw far off a little company of spearmen ride away across the plain. But now the clanging sea is strong with the salt of the lashing spray and full of elemental life; the riders of the waves, the Queen of Tides, who carries in her hand the pearl-like moon, and bubbles gleaming on the inky wave. "Often when hearing Bach I hear bells ringing in the sky, rung by whirling cords held in the hands of maidens dressed in brown. There is a rare freshness in the air, like morning on a mountain-top, with opal-coloured mists that chase each other fast across the scene. "Chopin brings night ; gardens where mystery and dread lurk under every bush, but joy and passion throb within the air, and the cold moon bewitches all the scene. There is a garden that I often see, with moonlight glistening on the vine-leaves, and drooping roses with pale petals fluttering down, tall, misty trees and purple sky, and lovers wandering there. A drawing of that garden I have shown to several people and asked them if they could play the music that I heard when I drew it. They have all, without any hesitation, played the same. I do not know the name, but— well, I know the music of that place."
The technique used for this hexagonal box can be used for other polygons as well, resulting in boxes with a different number of sides. However, the minimum number of sides is 5: for a square or triangle the shape you get in the center is not a star. The technique is simple in theory, but folding it nicely in practice is not so easy since it requires lots of precision to get the central star right, and due to some closed sinks needed to lock the sides. Still, the end result is quite nice and I like the jagged lower edge which makes this box stand apart from most of my other boxes. The lid can be turned upside-down and used as a container by itself, in which case the edges can be shaped to resemble flower petals.
Hexagrama 39 del I-Ching
"Este signo representa un riesgoso abismo que se abre delante de uno y que a sus espaldas tiene una empinada e inaccesible montaña"
y añade...
"Así es cuando uno se ve rodeado de impedimentos"
©2010 RESilU | Please don't use this image without my explicit permission.
________________________________________________
SpiralChannel - Intersection - LightChannel
________________________________________________
Series: The orderly Chaos
Budapest, inner city
Grünzweil House, built in 1854-55 for Grünzweil Norbert
Romantic Gothic Revival style
Architect and constructor: Brein Ferenc
Today it's a hotel.
Decoration above the windows: head(s) of Haydn and Händel as mascarons. Cast iron balcony
In the past a synagogue was in the courtyard.
About Grünzweil: he was the financial partner of Gyula Rózsavölgyi. The Rózsavölgyi & Co. Firm, which has a special role in the Hungarian music scene, was founded in 1852.
Shortly after the foundation, the music shop became the very centre of the Hungarian music scene. It wasn't only a music shop anymore, but also a book and music publisher, an organiser of concerts, a manager of music bands. It was originally a meeting place of regular guests like Ferenc Liszt, Richard Wagner and many other well-known Hungarian and foreign composers and musicians.
The shop and music salon still works in the inner city.: www.flickr.com/photos/37578663@N02/14823470631/in/photoli...
Grünzweil-ház
Épült 1854-55-ben, romantikus stílusban
Építtető: Grünzweil Norbert
Tervező és kivitelező: Brein Ferenc
A ház udvarán valaha zsinagóga állt.
A ház különleges dísze az ablakok felett: Haydnt és Händelt ábrázoló fejek.
Grünzweilről: Rózsavölgyi Gyula tőkéstársa volt. 1852-ben alapították a Rózsavölgyi és Társa céget, amely rövid időn belül kiemelkedő fontosságúvá vált a magyarországi zenei életben. Rózsavölgyiék nemcsak kereskedelemmel, hanem zenemű- és könyvkiadással, hangversenyek szervezésével, zenei együttesek menedzselésével is foglalkoztak. Üzletük találkozóhelye volt neves magyar és külföldi zenészeknek, többször járt itt Liszt Ferenc és Wagner is, és egy idő után csak úgy emlegették a boltot, mint a „Rózsavölgyi Kaszinót”.
Az épület a szomszédos házzal együtt ma hotelként működik.
Esta foto participó en el juego En un lugar de Flickr
La celosía de la ventana oriental, obra al estilo románico mudéjar de finales del siglo XII-principios del siglo XIII, en el presbiterio de la Capilla de San Galindo (conocida también como la Capilla de Santo Galindo, la Capilla de Sangalindo o la Capilla del Caballero Galindo) que se ve debajo del pórtico, a la izquierda de la portada meridional de la Iglesia de San Bartolomé de Campisábalos, un municipio situado en la Sierra de Pela e integrado en la Comarca de Sierra Norte de Guadalajara (Partido judicial de Sigüenza) que se halla en la provincia de Guadalajara, Castilla-La Mancha, España.
La celosía estrellada de San Galindo:
Este pequeño rosetón representa una estrella de doce puntas, dentro de la cual está ochavado así llamado Sello de Salomón - también definido como La Estrella de David o El Escudo de David – que es una configuración formada por la intersección de 2 triángulos equiláteros. Dentro del hexágono resultante, se distingue una cruz patada de ocho puntas, conocida como La Cruz de las Ocho Beatitudes o La Cruz de las Ocho Bienaventuranzas.
- Cuando esta cruz de ocho puntas se representa en color blanco, se asocia con así llamada Cruz de Malta, un símbolo usado desde el siglo XII como insignia por los caballeros hospitalarios o de la Orden de San Juan de Jerusalén (llamada también Orden de Malta desde que el emperador Carlos V le dio en feudo esta isla en el siglo XVI).
- Si esta forma de la cruz de ocho puntas se representa en color rojo, considerando la época de edificación de esta capilla, se vincula con la Orden del Temple o de Caballeros Templarios, teniendo en cuenta que el color primitivo pudo desaparecer con el transcurso de tantos siglos. Pues esta forma de cruz fue empleada también por los templarios (La Orden de los Pobres Caballeros de Cristo y del Templo de Salomón).
La Cruz de las Ocho Beatitudes que es definición sinónima de la Cruz de las Ocho Bienaventuranzas, según algunas suposiciones legendarias, fue utilizada por los templarios como clave para la construcción y desciframiento de un alfabeto secreto, además servía como símbolo base para el trazado octogonal de sus capillas...
La Cruz de las Ocho Bienaventuranzas, de acuerdo con las interpretaciones bíblicas, se relaciona con el Sermón del Monte de Jesús de Nazaret (Mateo 5:3-12 (Reina-Valera 1960); según las traducciones que se citan, la palabra “bienaventuranza” corresponde a “la beatitud” o a “la felicidad” (en la «Biblia griega» y en la versión del Vaticano):
1) 3 Bienaventurados los pobres en espíritu, porque de ellos es el reino de los cielos.
2) 4 Bienaventurados los que lloran, porque ellos recibirán consolación.
3) 5 Bienaventurados los mansos, porque ellos recibirán la tierra por heredad.
4) 6 Bienaventurados los que tienen hambre y sed de justicia, porque ellos serán saciados.
5) 7 Bienaventurados los misericordiosos, porque ellos alcanzarán misericordia.
6) 8 Bienaventurados los de limpio corazón, porque ellos verán a Dios.
7) 9 Bienaventurados los pacificadores, porque ellos serán llamados hijos de Dios.
8) 10 Bienaventurados los que padecen persecución por causa de la justicia, porque de ellos es el reino de los cielos.
11 Bienaventurados sois cuando por mi causa os vituperen y os persigan, y digan toda clase de mal contra vosotros, mintiendo.
12 Gozaos y alegraos, porque vuestro galardón es grande en los cielos; porque así persiguieron a los profetas que fueron antes de vosotros.
---------------------------------------------
La posible relación de esta capilla con uno de dos órdenes de caballería proviene del misterio que rodea la identidad del fundador de este templo, el enigmático Caballero Galindo, de la falta de datos documentados y de distintas versiones de la leyenda que explica las circunstancias de su edificación.
LA LEYENDA SOBRE EL AMOR IMPOSIBLE DEL CABALLERO GALINDO Y SU IDENTIDAD:
“...Dicen los viejos del lugar, que allá por la Edad Media, llegó a estos pagos una familia de nobles repobladores, los cuales tenían dos criaturas de corta edad, Galindo y Galinda, que por los azares de la lucha fronteriza resultaron separados. Creció el primogénito y llegó a señorear estas tierras, mas quiso el destino que ambos hermanos se encontraran, en su mocedad, sin reconocerse. Y, ajenos al parentesco, se amaron con juvenil pasión. Pero al cabo, hubieron de descubrir que eran de la misma sangre y, sumidos en la desesperación, tanto por el involuntario pecado cometido, cuanto porque su amor era ya imposible, Galinda murió de pena y vergüenza.
Como expiación y memorial, Galindo levantó para ella esta capilla mausoleo, construyó un Hospital para albergue de pobres y lo cedió a los "caballeros monjes", como dote para entrar en su orden. Administrando dicho Hospital, llevó una vida de penitencia y sacrificio, hasta que, cumplidos sus días, entregó el alma a quien se la dio, mandando sepultar su cuerpo en la capilla panteón, para esperar junto a su amada hermana el día del Juicio Final. Afirman que la historia estaba, grabada en piedra, sobre el interior del muro norte, aunque ahora tan sólo queda una inscripción borrosa e ilegible, al lado de otra, quizá del s.XVI, en la que se cita únicamente al Caballero San Galindo:
"En esta capilla donde está la reja de hierro está sepultado el cuerpo del caballero San Galindo y de la dicha capilla y hospital y bienes y rentas suyas son patrones la Justicia y Regimiento de la Villa de Atienza".
Una variante más reciente, que circuló en truculentas coplas de ciego, afirmaba que ambos hermanos "se enterraron en vida", encerrándose a vivir como ermitaños en la capilla que el caballero había mandado levantar como mausoleo familiar, separados por un muro doble sin comunicación. Y por eso, algunos documentos, llaman ermita a la capilla en que reposan sus restos...”
Referente a la identidad del Caballero Galindo existen las siguientes versiones, pues no se sabe la fecha exacta de su llegada a estas tierras y de la edificación de este templo que se describe en diferentes narraciones como una capilla, una ermita o una iglesia:
01) un noble que realizó numerosas donaciones y levantó gran número de hospitales en la zona;
02) un compañero del Cid;
03) un repoblador a quien el rey confió varias aldeas abandonadas;
04) un caballero que participó en la campaña de las Navas de Tolosa y que se vio recompensado por el rey por su actuación en la batalla;
05) un freire de la Orden del Temple o de la Orden del Hospital;
06) se supone que en la denominación de San Galindo, “San” es apócope de “Sancho”;
07) no se sabe, si Galindo era nombre, apellido, o una parte del apellido Sangalindo;
08) podía ser un caballero de origen aragonés, navarro o francés;
09) tal vez se trate de un “santo” popular;
10) quizás él haya sido uno de así llamados “santos templarios”;
11) un hidalgo o caballero, exento de pagar impuestos, que recibía beneficios del rey y hacía el servicio militar a caballo para sus señores;
12) uno de caballeros villanos, que poseían riqueza suficiente para mantener caballo y armas, los privilegios que tenían no eran por su linaje, sino por su valor militar y no pagaban impuestos durante dos o tres generaciones lo que hacía que fueran asimilados a hidalgos...
Lo cierto es que:
(1) En el actual cementerio de Campisábalos se conserva una puerta románica con dos cruces patadas que algunos dicen ser los restos del “hospital del caballero Sangalindo”, mientras que otros afirman tratarse de lo que queda de la “ermita de los Templarios” o de la Ermita de Santa Magdalena.
(2) El caballero llamado San Galindo tenía medios suficientes que le permitieron costearse una capilla para su propio enterramiento y además dejar todas sus rentas para financiar los hospitales de Atienza y Campisábalos.
(3) En la construcción de la Capilla de San Galindo participó el maestro llamado Domenicus Martín, quien en 1182 estaba trabajando en la iglesia de Tiermes que se considera la obra anterior a la de San Bartolomé de Campisábalos y por consiguiente, a la capilla del enterramiento del Caballero Galindo.
(4) No se sabe, si en el sepulcro conservado en la Capilla de San Galindo está enterrado sólo el caballero o se encuentran también allí los restos de su hermana, pero “así lo cuentan en el pueblo”.
(5) Campisábalos formaba parte del ramal secundario del Camino de Santiago que, partiendo de Cuenca y pasando por Ayllón, se unía en Burgos al denominado Camino Francés.
(6) “...En el libro inventario de bienes del hospital de San Julián en Atienza, existirían los datos precisos para identificar la personalidad del caballero donante, pero al roturar los baldíos en el siglo pasado, era frecuente conseguir que mediante unas pesetas, el depositario del libro donde figuraban las propiedades de la fundación, se aviniera a arrancar la hoja donde constaba la tierra nuevamente aprovechada; como era el único documento acreditativo del derecho posesorio, al desaparecer, el nuevo dueño veía asegurada la propiedad de la tierra, y así, del libro mencionado, sólo quedan las tapas...”
Las páginas consultadas y citadas donde se publica la información más completa sobre el tema:
Sangalindo: la sombra del tiempo
Aproximación a los origenes de Las Casas de San Galindo por Gregorio J. Calleja Arroyo
Campisábalos: el misterio de la capilla
--The Spanish Synagogue--
-The "balanced proportions," and especially the fading arabesques that covered every inch of wall space, astonished the visitors. Peaceful and meditative in spite of its rich "oriental" decoration, the synagogue interior makes an impact that exceeds that of its handsome façade. Completed in 1868 to replace the historic Altschul (the Old Synagogue, once the city's oldest), this is an important example of the early phase of Moorish style synagogue building, which held sway from the eighteen-fifties
to the mideighties of the nineteenth century.
Reflecting in those puddle after the rain we should examined in the light of the Ageless Wisdom teachings, we are reminded of the great occult maxim "As Above So Below" The mural shows the right eye, the left eye and the middle eye. This tower is the symbol for not only all three schools, but also the meaning and purpose of life itself. Vertical rods/constructs are considered archetypal symbols of the phallus. As the dual serpents address the concept of gender, the staff serves as an emissary of transference between body and mind, physically and spiritually. The rod could also be viewed as a conduit between the mundane and ethereal.. The puddle is male, the tower is female and the horizontal line is the child, the source of both the other building, for we all begin life as a child. The upper side, the feminine pathway, explores the human nature of emotions and feeling, both positive and negative, sexual energy and birthing, death, certain psychic energy, and everything that is not logical.As guided from within, outwards. “As above, so below” and vice versa, Solar Systems are born, die and come to birth anew in cycles of activity and rest, as does wo-man. There is a constant flaming out and dying down of activity in every department of nature, corresponding to the alternations of ebb and flow, day and night, summer and winter, life and death. In the beginning of a Day of Manifestation it is taught that a certain Great Being (designated in the Western World by the name of God, but by other names in other parts of the earth) limits Himself to a certain portion of space, in which He elects to create a Solar System for the evolution of added self-consciousness. He includes in His own Being hosts of glorious Hierarchies of, to us, immeasurable spiritual power and splendor. They are the fruitage of past manifestations of this same Being and also other Intelligences, in descending degrees of development down to such as have not reached a stage of consciousness as high as our present humanity, and therefore these latter will not be able to finish their evolution in this System. In God — this great collective Being — there are contained lesser beings of every grade of intelligence and stage of consciousness, from omniscience to an unconsciousness deeper than that of the deepest trance condition. During the period of manifestation with which we are concerned, these various grades of beings are working to acquire more experience than they possessed at the beginning of this period of existence. Those who, in previous manifestations, have attained to the highest degree of development, work on those who have not yet evolved any consciousness. They induce in them a stage of self-consciousness from which they can take up further work themselves. Those who had started their evolution in a former Day of Manifestation, but had not progressed far at the close, now take up their task again, just as we take up our daily work in the morning where we left off the previous night. All the different Beings, however, do not take up their evolution at the early stages of a new manifestation. Some must wait until those who precede them have made the conditions which are necessary for their further development. There are no instantaneous processes in nature. All is an exceedingly slow unfolding, a development which, though so exceedingly slow, is yet absolutely certain to attain ultimate perfection. Just as there are progressive stages in the human life — childhood, youth, manhood or womanhood, and old age — so in the macrocosm there are different stages corresponding to these various periods of the microcosmic life. A child cannot take up the duties of fatherhood or motherhood. Its undeveloped mental and physical condition render it incapable of doing such work. The same is true of the less evolved beings in the beginning of manifestation. They must wait until the higher evolved have made the proper conditions for them. The lower the grade of the intelligence of the evolving being, the more it is dependent upon outside help. At the Beginning, then, the highest Beings — those who are the farthest evolved — work upon those who have the greatest degree of unconsciousness. Later, they turn them over to some of the less evolved entities, who are then able to carry the work a little further. At last self-consciousness is awakened. The evolving life has become Woman-Man. The right eye is controlled by the left brain; it’s male knowledge. Although the right eye “sees” directly to the right brain, this is not what the Egyptians were communicating. It is not the “seeing” but rather the interrupting of the “seeing” information that was important here. It is the left brain that makes this interruption of what is seen; it controls the right side of the body, and vice versa. In the same manner, the Left Eye of Horus, controlled by the right brain, is female knowledge.What happens on one level of reality also happens on every other level; the microcosm and macrocosm behave alike. A revolution occurred during the 20th century in our understanding of the nature of the physical universe. This change is extremely important to religion, for it eliminates a basic conflict between science and religious belief. Prior to this change, our scientific beliefs were based on an approach that was initiated in the 17th century: "We live in a mechanical universe, and we are simply complex machines." This scientific notion that man was purely a mechanical system contradicts what is probably the core of religious belief, namely the idea that mind-like or spirit-like factors can make a difference in human behavior. The religious outlook assumes that a human being, acting on basis of conscious choices, is NOT equivalent to a mechanical system, whose every action is completely determined by direct interaction between tiny neighboring bits of matter. 20th century science, however, has shown that the earlier mechanical concept of reality to be incompatible with empirical facts. To cope with this failure of earlier ideas, physicist made a breakthrough change. Physical theory was converted from a theory about the physical world itself into a theory of WHAT ONE COULD KNOW about the physical world. Human experience was introduced into the theory and made fundamental. This was to be later known as the Copenhagen interpretation. It had drawbacks.For example, while it brought human knowledge into physical theory, it also renounced the possibility of understanding the underlying physical reality. It set our limits of understanding. It was the eminent mathematician John von Neumann and Nobel laureate Eugene Wigner to reincorporate physical reality. They did this by casting the new physics into a theory of the interaction between our conscious thoughts and our physical brains. This was known as von Neumann-Wigner formation of quantum theory, and rationally incorporated conscious thoughts into the basic dynamics. Physics was not yet ready to tackle the problem of interaction between our thoughts and our brain. It was some time before this was scientifically feasible for this kind of proof. Now however, there is a huge and rapidly growing field of experimental data on this question of the connection between minds and brains.
This shift in science is important significance to religion. It removes the basic contradiction between the older scientific claim that human beings are essentially mechanical robots, while religion maintains than man is not ruled by matter alone. The new physics now dynamically entangles our conscious thoughts with the quantum representation of the physical world. There is a plethora of competing theories arising from many disciplines to account for the psychophysical expressions of consciousness in function and structure. The only comprehensive theory must be one that is based in nondualism, and accounts for such self-organizing mindbody manifestations as spontaneous healing or self-recovery, or even the placebo effect. The mind-matter connection is intimately linked to any speculations we can make about alleged mind-over-matter phenomena. In fact all psi phenomena, including such nonlocality demonstrations as the “simple connections” of telepathy, ESP, or synchronicity in general are related to this problem of an underlying or connecting field through which information exchange is instantaneous and unimpeded.The leading contender for such a field, vacuum fluctuation or quantum foam, was proposed by David Bohm. Turbulent motion in this highly excited, subquantal field leads to the emergence from virtuality into actuality of quantum entities which just as quickly dissolve back into the subquantal sea. This same ocean of virtual or metaphysical “stuff” has the property of containing, storing, and transmitting information about the nature of matter and even thought. The observables of nonlocality and psi cry out for some form of interconnection between phenomenon separated in space and/or time. The concept most generally used in physics to account for spatial and temporal interconnection is that of a field. Fields themselves cannot be observed, and so can be considered meta- or beyond physical. Yet the influences propagating through them are observable, eventually. Mind, memory, and consciousness may be such phenomena. Is there one massive holographic field that actually exists in nature in the sense of Bohm’s holomovement? And if so, how does this relate to our consciousness and our relationship to the cosmos. And what is the mechanism by which this universal force interfaces within our organism? When we recognize that we really are that, that nature lies within our deepest structure and function, we come to understand that we are not separate from the whole of creation. We recognize that “I AM THAT I AM.” Everything including ourselves, is deeply connected in one holy movement. The quantum vacuum, the energy-field that characterizes the ground state of the universe, possibly furnishes the indicated ‘fifth field,’ the hidden variables of chaotic yet deterministic micromotion that bootstraps all energy/matter into existence. This plenum could transmit as-yet-unknown effects. This quantum foam, which Wheeler called superspace, consists of a pure massless charge-flux.
We argue, along with Laszlo that, “The conclusion to be derived from the considerations presented here is that the four-demnsional manifold Einstein described as spacetime is likely to be more than a geometrical abstraction. As the energetically superdense quantum vacuum, it may be a physically real field, limiting the velocity of light and other matter-particles and transmittingg a variety of effects, including, but not limited to, gravitation and electromangetism. We may well ask, then, whether the field would also transmit the kind of effects associated with psi.”
Waves of this purely informational (scalar) force could create a potential gradient where quantal motion triggers scalar waves in the vacuum, and these propagate by alternately compressing and rarefying its virtual-particle gas. Scalars are neither ‘light’ nor ‘matter’, but longitudinally propoagating fluctuations below the energy-threshold of particle pair-creation.This produces a self-generating cosmological feedback cycle which translates into interference patterns created by the motion of charged particles modifying the local topology of the vacuum. The modified vacuum field modifies in turn the motion of the particles, (Laszlo, 1993, 1994).Fourier show that any three-dimensional pattern can be analyzed into a set of regular, periodic oscillations that differ only in frequency, amplitude, and phase. Specific waveforms can be exact representations of spatiotemporal objects--thus we have a “Holographic Universe.” Analysis shows that the signals transmitted through the vacuum field are precisely of the psi variety, because information in that field is holographic, and because the propagation of the holographic interference patterns is quasi-instantaneous. Therefore, this virttual field might provide a metaphysical foundation for a broad range of psi phenomena and psychophysical interaction, including self-organization and healing. The quantum vaccum is a highly anomlous universal energy realm of pure potential. It is both the source and destination of all matter in the universe, and thus of any form of consciousness which may emerge through its autopoeitic process. The human brain, with its pronounced and constant state of chaos, could receive and amplify such signals, expressed both consciously and unconsciously in our biophsyical self and our ephemeral thoughts and intuitions.The von-Neumann-Wigner formulation provides the basic logical principles that govern the interaction between thoughts and the brain. It provides prima facie evidence that human thoughts are linked to nature by nonlocal connections. What a person chooses to do in one region seems immediately to effect what is true elsewhere in the universe. This nonlocal aspect can be understood by conceiving the universe to be not a collection of tiny bits of matter, but rather a growing compendium of "bits of information." This profound shift about the nature of reality has not yet sunk in culturally. It will happen by the promotion of understanding of the radical shifts wrought by quantum theory. Most quantum physicists are interested more in applications of quantum theory than in its deep implications. Most now agree that a conception of physical reality is informational in character, not material. Our conscious thoughts ought eventually to be understood within science and that when properly understood, our thoughts will be seen to DO something; they will be efficacious. From what most quantum physicists now understand, certain ontological claims can now be made. 1. The "physical world," as understood in quantum theory, is a store of information, and this information is NOT imbedded in hordes of tiny particles (as they were in classical theory). The information is stored in a mathematically described structure that specifies propensities for certain events to occur. This events (paradigms) include the acquision of information by human agents.2. Conscious events should eventually be understood in science, and these events should be efficacious. They should have a real effect on our actions. The von Neumann-Wigner formulation of quantum theory achieves these ends. It has never been seriously broached in science, not because it was considered unimportant, but because it was deemed too difficult. Pertinent data seemed insufficient and restrictive. This has changed because science has changed.The six sided star in the structural support of the tower incorporates the Duality, Male and Female (Unity), the Blade (upward pointing triangle) and Chalice. The blade represents the Physical, and the Chalice represents the Spiritual realm. It is sometimes referenced as the fire and water triangle as well. Moloch, Chiun and Remphan are all names for the star god, Saturn, whose symbol is a six pointed star formed by two triangles. Saturn was the supreme god of the Chaldeans. The hexagram is referred to the talisman of Saturn. The hexagram was brought to the Jewish people by Solomon when he turned to witchcraft and idolatry after his marriage to Pharaoh’s daughter. It became known as the Seal of Solomon in Egyptian magic and witchcraft. The six pointed star was adopted as the family crest or shield by the Rothschild family during the 19th century,he helped to finance Eiffel. Heavily associated with alchemy, Leo, the Lion, the Double Lion, Routi, refers directly to the Sun as being a source of knowledge. Leo, is one of the constellations of the Zodiac. The Zodiac, is a direct reference to the Sun. The Sun’s position at midday during the time of the Egyptians coincided with the midsummer solstice. Leo was a constellation of the summer.
The theme of Illumination, Knowledge, or Secrets being kept “under the Lion’s Paw” is a recurring motif.There are lions on the first floor belly. The spiral effect the descending forces of the tower, that indicates an expansion of knowledge, and the undulating dance of cosmic forces. Such dualities include:
Asleep/Awake Illness/Health Separation/Unity Male/Female
Left/Right Binding/Loosing Wax/Wane Water/Fire Sun/Moon
Yin/Yang Light/Dark Good/Evil Upper/Lower. If you take it a step further, you notice the dual intertwined snakes form a double helix DNA strand; Serpent DNA specifically. If the serpent is a biological anthropomorphism of DNA, then we can attribute the Ouroboros to cycles of DNA change.Let us examine this slide which I feel holds many secrets. First you have the sun and moon in opposite positions which proves the world has been put on a purposeful pole shift done at the hands of man.
In the East where the sun is supposed to rise you now have the moon or crescent where there is a Brother with a sword with an eagle or falcon upon it where he is shielding his eyes from the light because it is either too bright or he cannot see because he is blinded by the darkness.
In the West where the sun is supposed to set, you now have the sun with a brother who can see clearly what is going on as he holds the staff and serpent.
In the middle is the LORD OR LORDS and KING OF KINGS who represent the union of both and has risen above the Abyss on the wings of destiny. The Phoenix or Rex Mundi who represents not only the union of East and West, but also AS ABOVE SO BELOW.
So what does it mean?
The microcosm is oneself, and the macrocosm is the universe. The macrocosm is as the microcosm, and vice versa; within each lies the other, and through understanding one you can understand the other. The primary idea behind this is that the “above” refers to what is visible in the sky. The below, refers to Earth. This creates an equality as it explains how the Earth is a microcosm of the configuration of the planets in the solar system. It draws the connection that the Earth is affected by planetary orbits. This concept also affects various levels of reality: physical, emotional, and mental What happens on any level happens on every other.
The concept has not only been a practice, but an attempt to replicate and do a better job then YHWH himself. This is why alchemy and astrology play such an important role in the Illuminati.
In Alchemy, there is a process which Mercury and Lead can supposedly turned to Gold. The Gold isn’t the main goal. It’s to understand the process of how mercury or lead changes into gold. Man wants to replicate and modify what is on the Earth into their standards.
The same goes for Astrology. The elite not only observe all of the astrological signs, but use them to construct the architecture of this tower.
There will come a time when it will have been in vain that Egyptians have honored the Godhead with heartfelt piety and service; and all our holy worship will be fruitless and ineffectual. The Elohim will return from earth to heaven; Egypt will be forsaken, and the land which was once the home of religion will be left desolate, bereft of the presence of its deities.
They will no longer love this world around us, this incomparable work of YHWH, this glorious structure which HE has built, this sum of good made up of many diverse forms, this instrument whereby the will of YHWH operates in that which he has made, ungrudgingly favoring man’s welfare.
Darkness will be preferred to light, and death will be thought more profitable than life; no one will raise his eyes to heaven; the pious will be deemed insane, the impious wise; the madman will be thought a brave man, and the wicked will be esteemed as good.
As for the soul, and the belief that it is immortal by nature, or may hope to attain to immortality, as I have taught you; all this they will mock, and even persuade themselves that it is false. No word of reverence or piety, no utterance worthy of heaven, will be heard or believed.
And so the Elohiym will depart from mankind – a grievous thing and only evil angels will remain, who will mingle with men, and drive the poor wretches into all manner of reckless crime, into wars, and robberies, and frauds, and all things hostile to the nature of the soul.
Then will the earth tremble, and the sea bear no ships; heaven will not support the stars in their orbits, all voices of the Elohiym will be forced into silence; the fruits of the Earth will rot; the soil will turn barren, and the very air will sicken with sullen stagnation; all things will be disordered and awry, all good will disappear.
But when all this has befallen, then YHWH the Creator of all things will look on that which has come to pass, and will stop the disorder by the counterforce of his will, which is the good. HE will call back to the right path those who have gone astray; he will cleanse the world of evil, washing it away with floods, burning it out with the fiercest fire, and expelling it with war and pestilence.The double tetrahedron visible in the structural's forms of the tower can be referred to as the interdimensional vehicle for travel, the Merkaba. It also incorporates the Duality, Male and Female, the Blade (upward pointing triangle) and Chalice. The blade represents the Physical, and the Chalice represents the Spiritual realm. The Star of Solomon can also represent Jerusalem.The Square and Compass is the Blade and Chalice, God and Goddess in the act of Creation, and within the Star we find the Heavenly Luminaries or the Eyes or Spirits of God (the Planets). The symbols on the star represent the astrological portion of the symbol, Jupiter, Venus, the Moon, Mercury, Mars and Saturn, with the Sun being at the center. Zoroaster’ teachings mentioned earlier in the thread as Thoth or Hermes, would be responsible for the seven petal flower depicted at the center.
On Explore March 10 2007 #10
This wonderful quote of Goethe représent so well the six lines of each hexagram of the I Ching!
Cette merveilleuse citation de Goethe représente parfaitement pour moi les six traits de chacun des hexagrammes du Yi King!
Alles im Leben ist ertragbar, nur viele Tage von ununterbrochenem Glück nicht!
JOHANN WOLFGANG VON GOETHE
Everything in life is bearable, except for many days of uninterrupted happiness!
Dans la vie tout est supportable, sauf une longue série ininterrompue de jours de bonheur!
Tutto si sopporta nella vita, tranne molti giorni di ininterrotta felicità!
Todo se soporta en la vida, con excepción de muchos días de continua felicidad!
в жизни можно все стерпеть, кроме многих дней непрерывного счастья
كل شيء في الحياة يمكن تحمّله، ما عدا تلك الأيام السعيدة التي لا يقطعها شيء
一生中可以接受任何事物，除了日以继夜的快乐。
Pode-se agüentar de tudo na vida, exceto muitos dias de ininterrupta felicidade!
V životě se dá snést všechno, kromě mnoha dní nepřetržitého štěstí!
Alt i livet kan man bære, undtagen mange dage med uafbrudt lykke!
In het leven is alles dragelijk, behalve dagenlang ononderbroken geluk!
Elämässä voi kestää kaiken, paitsi monta päivää keskeytymätöntä onnea!
όλα υποφέρονται στη ζωή, εκτός από πολλές μέρες ατέλειωτης ευτυχίας
Minden elviselhető az életben, kivéve a sok napon át tartó folyamatos boldogságot!
人生のあらゆる事に耐えられる。絶えまない幸福の日々以外は
Wszystko znosi się w życiu oprócz wielu dni nieprzerwanego szczęścia!
Tudo se suporta na vida, excepto vários dias de ininterrupta felicidade!
Toate pot fi suportate în viaţă, cu excepţia multor zile de fericire continuă!
све се може поднети у животу, осим дана непрекидне среће
Allt i livet går att uthärda utom för många dagar av ostörd lycka!
ทุกอย่างในชีวิตเราเป็นสิ่งที่เรารับได้ ยกเว้นการมีความสุขอย่างต่อเนื่องเป็นเวลาหลายๆ วัน
Hayatta herşeye katlanılabilir, günlerce süren kesintisiz mutluluk dışında!
Today's story and sketch "by me" the first thing you notice, we are somewhere
in the badlands of Turkey, aboutto cross the Aegean Sea to "EBRA" check point
#45 in Karistos Greece. And in this sketch you see the pride of Karistos,
the #61 Moon Pie Race Blimp, with the distinctive Sexagram Logo,
(Sexagram is Latin for Hexagram).
The founders of the Karistos Moon Pie company, Adonis Gofish and his brother
Baako thought "Sex" would sell better than a "Hex" as their Moon Pie Logo,
it does seem to work well.
The Sexagram Feta Cheese center Pies are the most popular pie in most of
Greece and Toronto. The #61 is far back in the field after taking a few
direct hits from Turkish Pirates with bows and arrows as they were crossing
Heartbreak Ridge, the hills you see in the back of the sketch.
A small ransom of Pies was given to the normally peaceful goat herder pirates,
who after getting the booty of Sexagram Pies actually helped patch the Blimp
and drank kumis with the crew, "Kumis" an alcoholic drink made by the pirates
from goats milk, it has a high Alcoholic content, and Kumis consumption
may be the reason, the herders shot arrows at the Blimp. This band of Turkish
Goat Herder Pirates, had never seen a blimp until late yesterday,
after leaving a Herder Bachelor Party,
but that is a story for another time, as is the story of Bayram Shamuti
who is a Kumis Bootlegger, off to the town of Mugla, with a glider bed
full of Kumis and some Moon Pies, until then taa ta the Rod Blog.
A regular hexagonal star folded from a single square. A simple and elegant design by Shuzo Fujimoto.
Instructions for the model were published in Fujimoto’s books, Twist Origami 2 (page 52), and Twist Folding (page 56, additional pictures on pages 8 and 9).
Paper: Elephant Hide painted with oil pastels, Hexagon
Model: Akiko Yamanashi
Book: Origami Box p. 106-8
This is a nice box with a really folding sequence. Closed it's not that impressive, but when you open it the hexagram shows itself.
There's also a pentagram version in the book.
Do what you, what you want
If you have a dream for better
Do what you, what you want
'Til you don't want it anymore (remember who you really are)
Do what you, what you want
Your world's closing in on you now (it isn't over)
Stand and face the unknown (got to remember who you really are)
Every heart in my hands like a pale reflection
Hello, hello remember me?
I'm everything you can't control
Somewhere beyond the pain
There must be a way to believe we can break through
- What You Want, Evanescence
♰ Sponsored Items/Event Items ♰
Earrings:
Ebonstone - Hexagram XL Gauges
- Male and Female Versions
- VIP Gift - January 2024
- Available starting January 6th @ 6pm - Ebonstone - New Location/Grand Re-opening Party! - DJ/Dancing/Free Group Join during Event!
Shirt:
Diversion - Karina Top
- Sizes included: Legacy/Perky, Reborn, LaraX/PetiteX
- Fatpack includes: 10 Normal Colors + 4 Prints in 4 Colors Each
- Available now at FaMESHed!
♰ Base & Extras ♰
Body - Reborn
Head - LeLutka
Ears - ^^Swallow^^
Eyes - Avi-Glam
Hair - Stealthic
Rings - RAWR!
Piercings - LeLutka & Little Fish
Makeup - Reviver & Suicidal Unborn
Collar - Noir
Skirt - Rokins
Stockings - WeArHOuSE
Tattoo - Macabra
Shine/Scars/Eye Shine - This is Wrong
♰ Background/Studio/Decor ♰
Background - Foxcity - Puffy
Studio - Sunny's Photo Studio
♰ Sponsored Brands ♰
♰ Please check them out when you can! ♰
♰ Much love to all of you! - Athena ♰
Creation is seen to have taken place, in Western kabbalistic and alchemical terms, in the following process.
The Divine mind of God, the Absolute, or in Hebrew the Ain Soph Aur (Limitless Light), through a series of expansions and contractions establishes the boundaries of Creation. The first world is the most subtle, and closest to the original state of non-existence, and is Atzilooth. This is called the world of Fire, because of the lively, undefined, and almost uncontrollable nature of fire. Next is Briah, or the World of Archetypes and forms as our human mind can grasp them. It is symbolized as the World of Air, and is the result of a barrier world that is formed by the creation of the next World, Yetzirah, or Water. This is the highly psychic and emotionally charged world immediately behind the veil of material existence, or Assiah. Also known as the World of Earth, because of the solid, concrete nature of material life.
The purpose of this scheme, is to show that creation occurs in increasingly dense levels of energy-matter, from the most subtle, or Fire, to the most dense, or Earth. Within this context of increasing density, there also arises a series of ten planes or levels of consciousness which combines with energy-matter, known as Sepheroth, or spheres of being. They occur in a pattern of: unity, reflection, polarity, reflection, polarity, unity, reflection, polarity, unity, and finally materialization. This basic idea of unity-polarity-and re-harmonizing, is the basis of kabbalistic and alchemical practices, and is derived from the observation of Nature.
Each World is a reflection to a denser or more subtle degree than the one before or after it. Each Sepheroth is a reflection, in part, of what proceeds or follows it. However, since each reflection is only partial, or slightly distorted, each Sphere takes on its own unique characteristics. Only the so-called “Middle Four Sphereoth” have the ability to harmonize or reflect in total all of the energies of creation, on some level.
This ‘zigzag’ of Creation is called the “Lightning Flash”. The return of energy from dense matter, back through the various stages, Sepheroth, and Worlds of Creation is known as the “Path of the Serpent” because of its reverse, or complimentary ‘zigzag’ nature back up this diagram called the Tree of Life.
For the alchemist, somewhere between the third and fourth level, or sphere of creation, energy takes on the characteristic that will allow for the formation of matter at some future state, or level ten. This energy is called Prima Materia, Chaos in the Bible, Spiritus Mundi (Spirit of the Earth), and others. Here, duality is made complete, and genuine polarity exists, as opposed to simply the potential, or idea, of polarity that had existed previously. Energy is divided into active and passive modes, with the active energy constituting the energies of life, and the passive one the energy of matter. In “The Golden Chain of Homer”, the active energy is called Niter and the passive energy is called Salt.
The energy of Life manifests in two forms, Fire and Air. While both are predominately active in nature, fire is the more active of the two, with Air being slightly passive because of the partial Water Element in its makeup. Potential Matter manifests its energy as Water and Earth. These Elements have nothing to do with the material bodies of the same name, and as such are capitalized and called “Elemental” to distinguish them from the earth we walk on, water we drink, air we breath, and fire we cook with. They are in fact, energetic states, each with their own unique characteristics, as well as each of the previously mentioned ten levels of consciousness within them. The Elements also have preferred ways of interacting with each other, to form the Three Principles of alchemy. There are in fact, forty different ways energy-matter-consciousness can manifest in our world.
The Three Essentials are the alchemical principles of Sulphur, Mercury, and Salt. Like the “Elements” these principle concepts are to be thought of a “Philosophical” and not literally as chemical elements or compounds. The Alchemical Sulphur, or Soul, of a thing predominates in the animating principles of energy (Fire) and intelligence (Air); Alchemical Salt, or the physical body of a thing, predominates in unconscious forces, psychic, and instinctual intelligence (Water) and solid matter (Earth); Alchemical Mercury, or general life force, predominates in intelligence (Air) and instinctual forces, and psychic energy (Water), as such it is the link, or bridge, between the higher forces of Sulphur and the lower body of matter.
In the mineral realm the dominant energy is that of Earth, a little Water, and very little Air or Fire. In the vegetable realm, the dominant energy is Water and Air, but little Fire and Earth. In the animal realm, the dominant force element is Fire, then Air, but little Earth. These qualities need to be understood as they have been defined for the following information to be of any use to the practicing, or aspiring, Hermeticist. For example, using the above definitions, we can say that the plant realm has an abundance of instinctual energy (Water) and intelligence, i.e. a specific function (Air), but little direct energy (Fire), as this is received passively from the sun; and little hard, physical, matter (Earth).
In the East as in the West, the idea of principle Elements and Philosophic Principles are expressed in more or less the same manner. This original undifferentiated energy from creation is often called in Indian philosophy, and modern occult, and New Age circles, as akasha, or Spirit. However, akasha, consists of two (2) aspects, one active as we have noted, Niter, and the other passive, Salt. The energies of Niter are also referred to as the force of Kundalini, or spiritual forces. In alchemy, this is the Secret Fire. To the Salt, belongs the force of Prana, or Vital Energy.
The function of the Vital energy is to maintain physical life forms and existence. It is completely instinctual and unconscious and is heavily influenced by cosmic cycles, astrological pulses, and other natural phenomena. The function of the Secret Fire is to increase in humanity, the only place where it is present, its sense of self, or “I”. At the lowest level or functioning, this is the ego, at its highest, it is Divinity incarnate, as both are two sides of the same coin. One is ‘self’ in relation to the physical world and others; the other is ‘self’ in relationship to all of Creation and as a co-creator.
In the vast majority of humanity, this Secret Fire, or liberating energy of self-consciousness, lies dormant, asleep at the base of the spine, coiled like a serpent. Only a small amount manages to escape, reaching a sepherothic level, or so-called chakra, thus creating a loci of consciousness for each person. If it reaches the top of the skull, and beyond, a spiritual awakening can occur, allowing for a descent and re-ascent of the energy, during which the psychic centers can be awakened allowing for the manifestation of psychic powers and related phenomena.
The Secret Fire ascends as a result of a temporary weakening of the Vital Energy in the physical body. This is why so many spiritual awakenings take place under great physical stress, times of illness, or near-death-experiences. When the Secret Fire will ascend through the various psychic-physical currents causing it to be enveloped in a sphere of luminous light.
The experiencing of the Secret Fire, as a result of the suppression of the physical body’s Vital Energy, can create a condition which manifests in various forms:
-Some perceive the bright light as an angel, their Higher Self, or “Holy Guardian Angel”, others as a spiritual teacher.
-Astral projection may result, along with perception of the immediate surroundings.
-Uncontrolled physical movements may also result, typical of so-called ‘kundalini phenomena’: shaking, rapid breathing, swinging of the torso, uncontrolled giddiness, and sitting straight upright in the Pharonic position.
After a period of time, the energy will descend, and return to the base of the spine.
The effects of this awakening will take some time for the consciousness of the individual to adjust to, and is not limited to the ‘non-physical’ realms. The physical body, although to a lesser degree, is also changed and improved in functioning, constituting a genuine “re-birth’ on several levels. However, it is up to the mind, or sense of “I”, of the individual, to cooperate with this influx of power if more permanent changes in consciousness are to be made.
As we can see, the concept of kundalini, or the Secret Fire, is linked to two polar concepts: that of the undifferentiated creative energy, and the second, as the seed of this energy locked on each cell of material creation, and focused in humanity at the base of the spine.
When this energy rises as a result of psychic experiences, and not because of physical weakness, it can cause the Vital Energy of the body to be concentrated on various areas of the body, creating physical and psychic disturbances. If the energy becomes concentrated in the head, it can create the illusion of a spiritual awakening, as well as the well known “hot and cold” flashes, or currents, up and down the spine. The effects of the Secret Fire however, and not its re-distributive effects on the Vital Energy, can create the following phenomena:
Intense pains suggestive of an illness
Crawling sensations of ants or small bugs over the skin, as well as a ‘jumping’ sensation of the energy
A feeling of crystal clear calmness and tranquillity, rise from center to center to the top of the head
Ascending in the famous ‘zigzag’ or Rising Serpent pattern
The energy can skip a center or two
The energy can reach the top of the head in a flash of light
The character attributes of both positive and negative are exaggerated and sexual power is increased.
If the energy rises to the top of the head, then it becomes possible to work directly on the Vital Energy within the body, and use it, as a means of enhancing the psychic experience and spiritual awakening.
In short, the psychic centers must first be awakened by the Secret Fire and purified, before the energy of the physical body, can be concentrated upon them.
Thus, our psychic exercises, and esoteric meditations are designed to prepare our minds, bodies, and consciousness for the liberation of the Secret Fire buried deep inside us. Through a progressive cleansing of the blood, nervous system, and endocrine glands, the ‘chains’ of the Vital Energy upon the Secret Fire are reduced and eliminated, allowing the ever present power and energy, a veritable pressure waiting to be released, to spring into action. Thus, the Serpent doesn’t really sleep, it is we who are asleep to its presence and potential blessing.
The Secret Fire and the Sepheroth
“So he drove out the man: and he placed at the east of the garden of Eden cherubim, and a flaming sword which turned every way, to keep the way of the Tree of Life.” Genesis 3:24
The use of the “Tree of Life” has been both a blessing and a curse for modern esotericism. When understood, the “Tree” offers a complete and working model of Creation on both the microcosmic and macrocosmic scales. However, where many fail is on the personal level. The ability to apply the often very general information of the Tree to personal experiences of the initiate when they deal with physiological phenomena is profoundly lacking in modern esoteric circles. The reasons for this are several: First, many modern esotericists simply repeat what they have learned without experiencing whether or not it is true on a personal level; second, the language of kabbalah is multi-leveled, with the same word having several meanings, thus many who are using the words don’t know what they actually mean, or on what level it may be interpreted; thirdly, the diagram of the Tree is simply too neat and compartmentalized. Many kabbalists are unable to adapt to the fact that interior reality is much more flexible than the Tree allows when applied to the two dimensional page or illustration.
These problems are farther complicated by the idea of “One Tree” but “Four Worlds” making much meaningful, practical information nearly impossible to come by regarding the crises of spiritual awakening and so-called Kundalini phenomena as it relates to kabbalistic practices. When compared to the clear and explicit information available from Taoist and Tantrik sources, it is no wonder that so many Americans and Europeans prefer those systems to those more culturally and historically related.
To help resolve these problems in the transmission of knowledge, only information that has a relationship to experience of the author or others he has discussed this topic with will be included here. Theory will be stated as theory, and experience as experience. The meaning of common kabbalistic words will be defined, and redefined, to keep the communication clear and direct. An extensive use of confusing and somewhat irrelevant god-forms, references to mythology, and cosmology unconnected to the personal experience will be avoided.
Arousing the Sleeping Serpent
“Just as Moses lifted up the flaming serpent in the desert, so must the Son of Man be lifted up, that all who believe may have eternal life in him.” John 3:14-15
The Lesser Ritual of the Pentagram is often the first ritual learned by aspiring magicians. Its function is to teach the basic mechanics of solitary ritual, and to give a basic technique whereby destructive energies maybe repelled or dispersed from the sphere of influence of the operator. The symbols used in the ritual are fundamental to other rituals of a more complex nature; however, to disregard the Lesser Ritual as somehow less effective is a mistake. A ritual, no matter how simple or complex is only as effective as the skill of its operator. Repeated use of the LRP is can be more effective than incompetent or irregular use of more sophisticated rites.
In total, there are approximately six fundamental rituals used in Western occultism reflecting an influence of The Hermetic Order of the Golden Dawn: 1) the Lesser Ritual of the Pentagram 2) the Supreme Ritual of the Pentagram 3) the Lesser Ritual of the Hexagram 4) the Greater Ritual of the Hexagram and 5) the Rose+Cross Ritual. The use of The Flashing Sword appears to be irregular; however, it will also be considered along with its companion exercise or, The Rising Serpent.
Within these, the use of the Middle Pillar is optional, it is however, the Middle Pillar Exercise which does the most to purify the bodily energies, or Vital Energy, and make pathways for the release of the Secret Fire.