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It's not that Taty is not shooting flowers anymore, but her metaphysical and mystic photographs are definitely worth to explore/view too.
Wishing you all a splendid week ahead from Taty and me Willem.
No Post Processing used - no treatments, no cropping, and as is from the camera. The only thing added is the water mark - signature.
Merkaba's main achievement is showing that there is more to life than just the physical world we can see around us. It is not all just the visible plain. If people open themselves up to the possibility of existence of other plains of being.Merkaba is an ancient collection of teachings about the powerful ball of living energy, which surrounds every creature. This energy fills the entire world like the light of the starts, but it is primarily found around living things and objects, which produce a strong magnetic field. Even though in humans bodily energy is commonly believed to be concentrated only in chakras, Merkaba energy field envelops all chakras, the entire body and reaches out far beyond. The teaching of Merkaba supports the traditions of applying symbolism, amulets and magic to improve people's energy fields for the purpose of protection and personal benefit.
Merkaba's main achievement is showing that there is more to life than just the physical world we can see around us. It is not all just the visible plain. If people open themselves up to the possibility of existence of other plains of being, they open themselves up to a possibility of reaching the uppermost levels of existence through spiritual evolution, meditation and out-of-body experiences. Merkaba is a vehicle which can be used to achieve these upper worlds and attain the eternal knowledge and wisdoms of the universe. That is why it has become one of the primary teachings that every person, who seeks for truths in Kabbalah, eventually adheres to.
Merhttp://www.kabalatalisman.com/merkabakaba field includes both the body of the living creature and the counter rotating energy, which emits divine light in all directions. These rotating flows of energy are the powerful means by which the willing body can reach higher dimensions. They have a positive effect both on the human spirit and the physical well-being.
After years of research and practice in magic and Kabbalah, people acquired convincing experience, which serves as evidence of extremely healing effects of Merkaba. The energy of life has a positive influence on many aspects of one's health. It affects the digestive system, nervous system, lymph nodes, skin, bones and joints. In younger patients, the healing effects of Merkaba can manifest themselves by providing the body with an ability to overcome everyday mental stress, recover from hard work and physical load, think in a quick and more insightful way, achieve wisdom beyond what is expected of a certain age. In older people, it restores the strengths and increases muscle tone, improves hearing and vision, enhances sexual potency and turns back the clock of the aging body. It can even reduce the amount of grey hair and smooth out the wrinkles. Many patients use Merkaba powers to regulate their blood sugar levels, get rid of asthma and even control drug and alcohol addictions. The healing effects of Merkaba are well known and utilized by many magicians, witch doctors, shamans and kabbalists. However, as the interest and awareness about this curative power grow more and more, it is now used not only by those who practice alternative medicine, but also by certified doctors and medical personal.
In the same vein as the first "Synapsis", with another bow to Zone Patcher and LeBaron. Third in the suite of the 3 "Synapsis" images.
Music Link: Astralasia - "Seven Pointed Star" ( Full Version ). Psy Trance, Goa Style. I've chosen Astralasia's VERY electric music to suit the rather electronic images in this small series.
www.youtube.com/watch?v=lgZPF_l6g6A
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Sacred Geometry - Unfinished - Acrylic on Canvas 22x28
5th Plutonic Solid - Stellated Dodecahedron
Represents the "ether" of our universe, or the higher dimensions and upper levels of consciousness.
"HAMSA MERKABA".....un mandala puede ser dibujado de adentro hacia afuera o de afuera hacia dentro dependiendo de lo que se quiera expresar ...
interiorizar o exteriorizar .... mi ojo mi mano mi geometría sagrada"
those words comes from her.
- Dont use without permission
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The original point of separation from Self is the start of all energy. The symbol of the Vesica Pisces looks like two overlapping circles and represents the formation of the Prime Radiant or very first particle resulting from the first act of creation which was the first separation from the Great Oneness.A mandorla is an aureola, usually in the shape of a vesica piscis, which surrounds the figures of Christ and the Virgin Mary in traditional Christian art. It is distinguished from a halo in that it encircles the entire body, and not just the head. It is commonly used to frame the figure of Christ in Majesty in early medieval and Romanesque art, as well as Byzantine art of the same periods.The actual nature of all reality is oneness or the one true or original Substance of all reality which we experience every day outside ourselves as space and within our selves as consciousness. From this universal space which contains all dimensions, comes all things. The first separation from our true Self resulted in an endless vibration as the oneness (now separated into “twoness”) tries to go back into itself and instead only intercepts at its original point of separation temporarily, and swings back through itself the other way like a pendulum, except more like a vibrating string or membrane as in “Membrane Theory.”This first act of separation instantly repeats itself endlessly becoming universalized and infinitely complex, resulting in all creation as we know it — full of vast quantities of energy in all manner of forms and dimensions. All it really is, is our great One Self vibrating or expanding out from its own origin and expressing itself in all manner of ways. Energy is created by our observation of it, because consciousness separating from itself is the actual source of this universal energy.As soon as separation consciousness stops, and Oneness prevails, then all things cease to exist except in a state of perfect equilibrium, stillness or perfect order. The point of balance (equilibrium) between all states of vibration is this state of perfect stillness or potential of creation. Wherever the waves of electromagnetic radiation cancel each other out is where the one substance of all space is in greater equilibrium.The Vesica Pisces is two circles overlapping one another each representing a spontaneous dimensional expansion out of its original state of the Oneness as represented by the original circle. As the observer observes (or becomes “aware” of itself through spontaneous dimensional expansion) a very significant event occurs that establishes the permanent arrow of time created by the polarity of the observer and the observed because one must always follow the other in a very definite sequence.The Observer (God) always comes first, followed by the observed (Creation), and coincidentally, the two “O’s” in the Vesica Pisces are like overlapping initials “O.O.” standing for both the Observer and the Observed. Time therefore always goes forward in this sequence of the “oneness” followed by the “twoness” (duality of the observer and observed) creating a universal polarity of space, all logical sequences, the thermodynamic arrow of time, and the universal order of creation itself. This is why time (the universal flow of energy) never goes backward, and why time is basically asymmetric and not always symmetric, and why the whole universe is always expanding and never contracting.The universal vibration started by the original separation from the Oneness is so intense that it causes all space to have an ever-expanding sub-atomic quantum energy texture or pattern which sustains all things in creation. Atoms could not be sustained without this quantum energy, the electrons vibrating around every atom would simply collapse into the nucleus, which in turn (being a vibration of the quantum texture of space) would dissipate into nothing.All living organisms, including the human form are sustained by this cosmic (dark) energy. Because it is so ubiquitous, ultra fine, and constant, materialistic scientists don’t fully grasp the extent to which it does and can sustain human life. Some people claim to live entirely without food and live on this universal energy instead.Consciousness, the thermodynamic arrow of time, quantum (or zero point) energy, and what many religions term God, Shakti, Prana, Chi, Om, the Shabd, the Holy Spirit, and the cosmological dark energy causing the vast expansion of the universe, are all various aspects or definitions of roughly the same quality. Like the overlapping circles of the Vesica Pisces, many of the above concepts and phenomena actually overlap one another as almost being, if not entirely being, one and the same phenomenon.God was symbolized as a circle in the earliest cultures, having no beginning or end, eternally existing, perfectly shaped and absolutely symmetrical. The creation of a second circle symbolized the start of the duality of god and goddess, male and female. When two circles intersect, the form of the Vesica Pisces is created as if the god and goddess formed a divine offspring. The Vesica Pisces design and its offshoots, the Flower of Life, Tree of Life, and fundamentals of geometry, go back thousands of years preceding nearly all of today’s major religions.There are various meanings ascribed the Vesica Pisces, which is basically the intersection of two, overlapping spheres; such as the union of heaven and Earth in the body of Christ, the root element of the Flower of Life, the merging of God and Goddess, the vagina of the female goddess, the first pattern at the basis of all trigonometric configurations, square roots and harmonic dimensions; a source of great power and vitality, and as an overlying template that intersects with all the points on the Tree of Life. The Tree of Life, Flower of Life, and the Seed of Life overlap perfectly, with the Vesica Pisces providing all of the elements of the Flower of Life and all the coordinates for the Tree of Life.The Vesica Pisces represents the Pythagorean “measure of the fish” or mystical conjunction of the spiritual world with the physical world and, with one end extended to look like the tail of a fish, was used as a simple “fish” symbol for the early Christian faith. The Vesica Pisces also symbolizes the miracle of the fishes. Amazingly, the Gospel of John (21:11) reveals the numerical formula, “153” found in one of the mathematical ratios (265:153 = 1.7320261…) for the Vesica Pisces: “Simon Peter went up, and drew the net to land full of great fishes, an hundred and fifty and three: and for all there were so many, yet was not the net broken.”The Vesica Pisces is one of the most important geometrical designs of archaic and modern times. The Vesica Pisces can be found on nearly every medieval church in Europe. Many of these churches were devoted to the Virgin Mary or to Mary Magdalene, in other words, the goddess. In northern France, some of the churches are located in such a way as to resemble the locations of stars in the constellation Virgo.In geometry, the ratio of the width of the Vesica Pisces to its height is the square root of 3, or 1.7320508… Also two equilateral triangles join along the edge where straight lines are drawn connecting the centers of the two overlapping circles with each other. The square roots of three of the first digits of the Fibonacci Numbers, 2, 3, and 5, can be geometrically determined using the shape of the Vesica Pisces. The ratios 265:153 = 1.7320261… and 1351:780 = 1.7320513… are two of a series of approximations as close as one can get to the actual square root of 3, and no greater similarity in value can be obtained with smaller whole numbers.
scienceofwholeness.com/how-the-vesica-pisces-explains-cre...
From basic, Paracelsus went to Colmar where he stayed with Lorenz Frics, the author of popular medical literature- written like Paracelsus treaties in the vernacular. There, however, the similarity ends - Fries work being on common dietetic lines. Though rejoined at Colmar by his pupils- notably Oporinus- Paracelsus soon moved and, after a short stay at Essingen, reached Nuremberg in 1529.
However, he soon moved to Colmar, to stay with an acquaintance, Doctor Melchior Fries. This may have been unfortunate choice, as Fries was a supporter of Avicenna and published a defense of him the following year. Someone other than Paracelsus may have been able to accommodate his host’s support of his authority, but inevitably he quarreled with Fries and departed for Esslingen, south east of Stuttgart. This way was not the only reason for his departure from Colmar. The authorities of that town had refused Paracelsus the right of permanent residence and also did not permit the publication of a manuscript that he had just written. However, something soon went wrong at Esslingen, and for unknown reasons Paracelsus moved to Nuremberg. Here he got involved in the struggle to publish his work on syphilis.
Other version;
At Colmar, Oporinus left his master, exhausted by his demands, and returned to Basle. Despite some attempts by biographers to cast this separation as acrimonious, there is no real evidence that the parting was other than friendly, and Paracelsus even gave to his former secretary a portion of his famous laudanum remedy. Oporinus became a man of fluctuating fortunes: he married four times, and his reputation as scholar and printer apparently did not spare, him from the persistent specter of debt. When Paracelsus posthumous fame began to grow, Oporinus deeply regretted having lent out the book of his former master and never getting them back.
For a time Paracelsus thrived in Colmar. He told Amerbach that he had quickly become busy with patients there, and Oporinus confirms how much Paracelsus was admired in the town. He was welcomed into the humanist circle of the town officials, and befriended the town provost. Hieronimus Boner, and the magistrate, Konrad Wickram. His commitment to clients and his chemical experiments did not prevent him from writing: he dedicated a book on syphilis, paralysis, boils and agues to Boner in June, and another entitled ; On Open and Visible Discases to Wickram in July.
The relationship with Fries was agreeable. Given the Colmar doctor’s Galenist inclinations and veneration of Avicenna, it was inevitable that the two would quarrel sooner or later. Fries‘ s astrological prediction for 1531 contains a jibe against physicians who reject the ancient and claim to each a new kind of medicine, wich was probably a barb meant for Paracelsus. In time he was to accuse his former guest of being a necromancer who did the devil’s work.
Paracelsus influential connections did not help him gain permanent residence in Colmar, for the authorities were aware of his chequered career and controversial ideas, and would not extend the temporary permit required for residing in the town. Not would they allow him to publish his book on syphilis. And so he had no option but move on again, wich he did some so he had no option but to move on again, wich he did some time in the first half of 1529. He travelled to the Duchy of Wurttemberg, east of Alsace, and made his way to the small town of Essingen, close to the ancient family of Hohenheim.
The work on Syphilis From Basle, Paracelsus went to Colmar where he stayed with Lorenz Fries”, the author of popular medical literature – written like Paracelsus' treatises in the vernacular.” There, however, the similarity ends .
Nuremberg was the town of his hope- the great center of commerce, of artists, artisans and religious reformers. His reputation went before him, however, and and precluded any access to the phalanx of professionals which stood firmly closed against him. He immediately challenged the latter by proposing to cure any patient deemed incurable- in which he miraculously succeeded among nine or five-teen of the lepers of the town. Conceivably this intensified the hostility of his colleagues. Worse than this, he alienated the strong Lutheran orthodoxy. In this view this was just a condemnable a popery. Standing as he did for practicing rather than preaching Christianity, he was bound to take exception to the Lutheran worship of ‘Word’ and ‘Faith’ in contrast to ‘Deed’. The support given by Luther and his Church to social injustice as practiced by the ruling circles in exterminating the rebellious poor, the dissenters and the enthusiasts could not fail to provoke Paracelsus ‘anger and disgust ‘. More than anywhere else, his literally work at Nuremberg went straight against recognized doctrines and ruling opinions.
Paracelsus von Hohenheim (1490-1541) was the outstanding medical therapist of his time and, perhaps, the greatest mystic in the history of Western medicine. He devoted his life to research in the healing arts. Paracelsus visited Constantinople to acquaint himself with the secret practices of the Dervishes and the Sufis.
The following is an excerpt from Paracelsus - His Mystical and Medical Philosophy, by Manly P. Hall, published by the Philosophical Research Society:
[According to Paracelsus]...the elementary energy blockage is an artificial being, created in the invisible worlds by man himself - and some of the guys who do this are really bad people. In harmony with more recent findings, Paracelsus noted that most elementaries energy blockages seem to be of an evil or destructive nature. They are generated from the excesses of human thought and emotion, the corruption of character, or the degeneration of faculties and powers which should be used in other, more constructive ways....
Bad habits, emotions, addictions, irritation - all from energy blockages.
Man is therefore a creator, not merely in terms of the perpetuation of the species, but especially in terms of the imagination. Man is creative in the arts, sciences, and philosophies, but his creative powers are not only external, but also internal. Because he lives, man bestows life, and he can generate creatures from his thoughts and emotions....The power to create is the power of vibration, by which anything is set into a peculiar motion....
The invisible progeny of man include thought-forms and emotion-forms energy blockages . These are like infants or inner children, especially in their beginnings, for they depend upon their creator for their nutrition and survival. Later, however, if the forces which generate continue to operate, these thought and emotion-forms gain strength, finally attaining a kind of independence....Having thus become even stronger than their creator, these thought and emotion-forms energy blockages will turn upon the one who fashioned them, often causing in him a terrible habit or addiction and destroying his health and happiness.
We know that the human psyche can become ridden with pressure centers or pressure-patterns which we call fixations, complexes, phobias, and the like. We know that these negative psychic formation energy blockages are nourished by the continued repetition of the attitudes which caused them. We say that negative attitudes become habitual energy blockages, by degrees taking over and destroying the mental and emotional integrity of the individual.
A fixation energy blockage, well nourished by attitudes suitable for its perpetuation, intensifies, becoming actually avaricious and resolved to dominate or possess the entire life of its unhappy victim....
Modern thinking therefore, sheds light upon the concept of elementaries energy blockages, extending beyond the basic research of Paracelsus...[He] used the term obsession to signify possession by an entity. Today the term is used to signify possession by an abnormal attitude....Is it possible that the abnormal attitude has gradually become an entity?
...Many persons under psychological obsession energy blockages resist treatment, as though some foreign creature were fighting for its survival in them....
Out of his philosophy of elementaries energy blockages, Paracelsus came to the conclusion that a very large part of what we consider to be disease, results from psychic parasites energy blockages generated by wrong thoughts and emotion - Energy Blockages of this particular type.
There is a process of removing, eliminating, the energy blockages which exhibit Attention seeking behaviour through the Energy Enhancement Process. This is the process of Integrating the mind under the aegis of the Soul, the Higher Self, and by purifying the Nafs, the Talents, the Energy Blockages in Energy Enhancement Level 2 - Eliminate Energy Blockages, and Energy Enhancement Level 3 - Eliminate the Attention Seeking Sub-Personalities and Strategies of the Vampire
ENERGY ENHANCEMENT DESTROYS, REMOVES AND INHIBITS ALL ENERGY BLOCKAGES...
The Kundalini Kriyas and The Five Elemental paths of the Chi of the Taoist masters, like Energy Enhancement, gives the Hidden Taoist Secrets of the Microcosmic AND the Macrocosmic Orbit, The Energy Enhancement Supra Galactic Orbit
These symbols symbolise how to clean all the Chakras through a guided meditation. Helping all parts of the mind including the Unconscious, to become more calm and still.
"To remove the stones in the path of the watercourse. To remove blockages to the flow of your energy" A description of Samyama or Energy Enhancement from the 5000 years old Yoga Sutras of Patanjali, the source of Raja Yoga.
The Kundalini Kriyas and The Five Elemental paths of the Chi of the Taoist masters, like Energy Enhancement, teaches how to cleanse the psychic body so that our psyche becomes sensitive and our energy more powerful.
The Kundalini Kriyas and The Five Elemental paths of the Chi of the Taoist masters, like Energy Enhancement, strengthens the psychic circuits and decreases the resistance to the flow of Energy. It helps to build the psychic body, as Gurdjieff called it, "The Body Kesdjian".
The Kundalini Kriyas and The Five Elemental paths of the Chi of the Taoist masters, like Energy Enhancement, are guided meditations to increase sensitivity to energies is given in the next Initiation of the techniques of Energy Enhancement- "The Grounding of Negative Energies." - the Earth Path of the Five Elemental Pathways of the Qi.
Energy Enhancement's first seven Initiations of the full Twenty Eight Initiations consists of Meditation, Shaktipat, Energy Circulation, The Kundalini Kriyas, The Five Elemental Paths Of The Chi Of Chinese Alchemical Taoism, The Grounding Of Negative Energies, Alchemical V.I.T.R.I.O.L and the Art Card Of The Thoth Tarot, Kundalini Energy, Strong Psychic Protection, The Merkaba, Pyramid Protection, Power Tower Protection, The Antahkarana, Soul Fusion, Monadic Infusion, Logos Infusion, the Painless Removal Of Stress, Trauma And Negative Emotion.
¿Conoces la diferencia entre liturgia, taumaturgia y teúrgia? Si la liturgia hace referencia al culto público; la taumaturgia y teúrgia están vinculadas al carácter de conexión individual con la divinidad, vía por la que se ejecutaban presuntos actos prodigiosos en el plano corporal. Tanto la taumaturgia, como la teúrgia despertaron un enorme rechazo en la res publica christiana del Medievo, con la consecuente persecución de aquellos sujetos capaces de realizar supuestos hechos extraordinarios. Sin embargo, la aparición de este tipo de excepcionales personas hay que buscarlas a las orillas del Nilo, en el aún hoy enigmático y fascinante Antiguo Egipto.
Para conocer más sobre el significado simbólico de este número consulta el siguiente vídeo de la escritora Ibiza Melián: youtu.be/mLyOcgMem8E
From its center it forms the sacred geometrical shape of the Merkaba. This shape is best scene from directly above.
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Taken 15 meters off the ground for a slight elevation angle. The Reactor is a large complexed geometric structure made of endless triangles. From the ground it looks like a crown or a pomograne, but from its center it forms the sacred geometrical shape of the Merkaba.
Its purpose is to remind us that acts of kindness reward the giver, the receiver and the witness of the good acts, with a boost of oxytocin, producing good feeling to all and taking nothing in return. Therefore creating energy — a Reactor.
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18x24
Merkaba - Sacred Geometry - acrylic on canvas.
Merkaba, also spelled Merkabah, is the divine light vehicle allegedly used by ascended masters to connect with and reach those in tune with the higher realms. "Mer" means Light. "Ka" means Spirit. "Ba" means Body. Mer-Ka-Ba means the spirit/body surrounded by counter-rotating fields of light, (wheels within wheels), spirals of energy as in DNA, which transports spirit/body from one dimension to another.
11:11:11 Portal and Restranding the Sacred Codes in our DNA - 40" x 60" Acrylic over Gyclée on Hahnemühle Torchon - prints and more info
We have a whole new collection of items for the Geektopia Event. Nerdy, cool and colourful. Have some fun shopping while collecting some nostalgic pieces!
June 19th - July 3rd
You can find these items at 50% Off at our booth.
Skin update. Tattoos are now fully healed, also, my hair length is pretty wild at the moment.
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Picture and processing by me.
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The ascended masters of the Great White Brotherhood initiate earth’s evolutions in the God-consciousness of each of the hierarchies, as taught by Mother Mary to Mark and Elizabeth Prophet for sons and daughters of God returning to the Law of the One and their point of origin beyond the worlds of form and lesser causation. (Source: Elizabeth Clare Prophet, “Seminar on the Cosmic Clock: Charting the Cycles of Your Karma, Psychology and Spiritual Powers on the Cosmic Clock,” 2 audiocassettes and accompanying packet of study materials, available from the Summit Lighthouse website at www.thesummitlighthouse.org).
Cities also have divine blueprints with specific major monuments and buildings that are spiritual focuses and that correspond to the twelve lines of the cosmic clock. The following summary describes the monuments and buildings of the cosmic clock of Miss Liberty.
Ascended Master way is living inside the statue, and had been deep in meditation, practicing and preparing himself for the Ascension attempt, so he was not able to react in time to stop the killing blow, but upon sensing his brother’s imminent attack The Guardian of the Temple was able to pull his consciousness out of his physical body and into the Merkaba (light body) or crowded energy in the Crowne, human spirit had just been working on. He then simply followed Set while he disposed of the body and then guided his wife and sister to those places shortly after, who recovered his missing parts....Human was melting in the pot of genetically modified brain. Supernatural is today so far away and human forgetting the stairway to heaven , remember Jacobus Dream ( Songe de Jack)
The Merkaba signifies Unity.
It is the balance between Feminine & Masculine, as we all contain both.
In Ancient Egyptian, Mer means a Counter Rotating Field of Light.
Ka means Spirit.
Ba means Body.
The 2 triangular shapes are tetrahedrons.
When together in opposite directions, create what is called a ‘Merkaba’ or ‘Star Tetrahedron’.
The Merkaba is the basis of all biological lifeforms all across the Universe.
Enlightement is realising the interconnectivity of all that is.
It is when both sides of the brain work together as one.
www.WillpowerStudios.com/sacred-geometry
= Art + Music + Technology
According to the verses in Ezekiel and its attendant commentaries, the analogy of the Merkaba image consists of a chariot made of many angels being driven by the "Likeness of a Man." Four angels form the basic structure of the chariot. These angels are called the "Chayot".
The bodies of the "Chayot" are like that of a human being, but each of them had four faces, corresponding to the four directions the chariot can go (north, east south and west). The faces are that of a man, a lion, an ox (later changed to a child or cherub) and an eagle. Since there are four angels and each has four faces, there are a total of 16 faces. Each Chayot angel also has four wings.
Two of these wings spread across the length of the chariot and connected with the wings of the angel on the other side.
This created a sort of 'box' of wings that formed the perimeter of the chariot. With the remaining two wings, each angel covered its own body.
Below, but not attached to the feet of the "Chayot" angels are other angels that are shaped like wheels. These wheel angels, which are described as "a wheel inside of a wheel", are called "Ophannim" - wheels, cycles or ways).
These wheels are not directly under the chariot, but are nearby and along its perimeter much like the wheels of a car. The angel with the face of the man is always on the east side and looks up at the "Likeness of a Man" that drives the chariot. The "Likeness of a Man" sits on a throne made of saphire.
The Bible later makes mention of a third type of angel found in the Merkaba called "Seraphim" (lit. burning) angels. These angels appear like flashes of fire continuously ascending and decending.
These "Seraphim" angels functioned somewhat like pistons in that they powered the movement of the chariot. In the hierarchy of these angels, "Seraphim" are the highest, that is, closest to God, followed by the "Chayot", which are followed by the "Ophannim".
The chariot is in a constant state of motion, and the energy behind this movement runs according to this heirarchy. The movement of the "Ofanim" is controlled by the "Chayot" while the movement of the "Chayot" is controlled by the "Serafim". The movement of all the angels of the chariot are controlled by the "Likeness of a Man" on the Throne.
Chassidic philosophy explains that Merkaba is a multi-layered analogy that offers insight into the nature of man, the ecosystem, the world, and teaches us how to become better people.
The four Chayot angels represent the basic archetypes that God used to create the current nature of the world. Ofannim, which means ways, are the ways these archetypes combine to create actual entities that exist in the world. For instance, in the basic elements of the world, the lion represents fire, the ox earth, the eagle wind, and the man water.
However, in practice, everything in the world is some combination of all four, and the particular combination of each element that exist in each thing are its particular Ofannim or ways. In another example, the four Chayot represent spring, summer, winter and fall. These four types of weather are the archetypal forms. The Ofannim would be the combination of weather that exists on a particular day, which may be a winter-like day within the summer or a summer like day within the winter or whatever.
The Man on the throne represents God, who is controlling everything that goes on in the world, and how all of the archetypes He set up should interact.
The Man on the throne, however, can only drive when the four angels connect their wings.
This means that God will not be revealed to us by us looking at all four elements (for instance) as separate and independent entities. However, when one looks at the way that earth, wind, fire and water (for instance) which all oppose each other are able to work together and coexist in complete harmony in the world, this shows that there is really a higher power (God) telling these elements how to act.
This very lesson carries over to explain how the four basic groups of animals and the four basic archetypal philosophies and personalities reveal a higher, godly source when one is able to read between the lines and see how these opposing forces can and do interact in harmony. A person should strive to be like a Merkaba, that is to say, he should realize all the different qualities, talents and inclinations he has (his angels).
They may seem to contradict, but when one directs his life to a higher goal such as doing God's will (the man on the chair driving the chariot) he will see how they all can work together and even complement eachother.
Ultimately, we should strive to realize how all of the forces in the world, though they may seem to conflict can unite when one knows how to use them all to fulfill a higher purpose, namely to serve God.
Whitely Strieber, author of Communion: A True Story considered Alien Scriptures: Extraterrestrials in the Holy Bible to be, "the best book ever written on the subject." Reverend Michael S. Carter's Alien Scriptures: Extraterrestrials in the Holy Bible is written from the point of view of a man or woman in biblical times, anything that came down from the sky would be considered a god, or at least sent by the gods. Now consider what the site of modern technology, such as a helicopter or rocket ship, would do to the mind of a 1st century man or woman. The explanation of this type of phenomenon would probably sound an awful lot like what we find in civilization’s most sacred books. Reverend Michael S. Carter explores the possibilities that the Bible, Koran, and other religious texts contain clues to visitations from extraterrestrials in this expanded second edition of Alien Scriptures: Extraterrestrials in the Holy Bible. Rev. Michael J. Carter is originally from Baltimore, Maryland. He moved to New York City in 1980 and lived there for 25 years, working as a professional actor before moving to Asheville with his family. Michael is an ordained Interfaith minister and received his BA Degree in Letters from the College of New Rochelle where he graduated cum laude. He received his Masters In Divinity Degree from Union Theological Seminary in New York City (class of 2000).While serving various Unitarian Universalist Congregations in New York, Michael was trained as an anti-racism trainer and has been recognized by President Clinton for his efforts. Michael was also a weekly columnist for the Asheville Citizen Times. Rev. Carter now serves as the minister for Unitarian Universalist Congregation of The Swananoa Valley, in the beautiful mountains of Western North Carolina. Rev. Carter has written articles on UFOs and Religion for such publications as UFO Magazine, Alien Encounters ( A British Publication),The MUFON UFO Journal, Contact Forum, The S.P.A.C.E. Newsletter (Support Program for Abductees Contact Encounters) a UFO support group in New York City. He has spoken at UFO Conferences such as the 2nd Philadelphia, Need To Know Conference, The Annual Long Island UFO Conference with Budd Hopkins, as well as appearing on radio and TV appearances across the nation. Rev. Carter has also appeared on Japanese television discussing the Bible and UFOs. A long-time UFO experiencer, he lectures extensively on the topic of religion and UFOs. He has appeared on the Sci-Fi Channel’s production of Steven Spielberg's Abduction Diaries, The Real 4400, Coast to Coast AM, and is a frequent guest on The History Channel’s production of Ancient Aliens.
The opening, on the MIC's sim, of the new exhibition of RL paintings by Marisa Falbo (Merkaba Twine) entitled "THE BREATH OF THE CHRYSALIS".
The exhibition will remain open until this next Luly 20.
We wait you for share and dive in an emotional universe, that for the first time will disclose the material with is painted!
The artist is present in the Encyclopaedia d 'Art Italian - General Catalog Artists from 900 to now: www.enciclopediadarte.eu/
MerKaBa Portal by David Date
For more Burning Man images follow my decommodified feed at www.instagram.com/jamenpercy.burn
8 pointed Star Tetrahedron (Merkaba) all wood sculpture. One of the Archimedes Solids and one of the basics of sacred geometry. I clear coated this one for the photo to show the cross shadows easier, because these are very difficult to see in a two dimensional photograph.
2 Tetrahedron interwoven plus all of the inner struts that also form an octahedron. 24 pieces total (excluding stand).
deck design for the AIGA BordoBello auction. hand-drawn / painted with watercolor and pigma microns.
my first form of liquid painting was on abstract spiritual forms in motion.
i finished that series in 1999 after a show in which no one seemed to be intrigued by the essential qualities of what our eyes show to us.
i switched over to REAL representational art.
but i kept the NOT GALLERY aspect of my work pretty strong -- using way more black, only tints and shades and full chroma colors. i painted my feelings with the colors i chose.
and "my feelings" weren't intended to be my own.
i love classical ideology.
form and beauty and also our modern understanding that the 1 percent is fetish and nazi/fascist by its nature.
so i'm not into perfection as much as the idea of things that are just obviously better or trying or engaged or activated.
arguments about perfection are weird.
why do people like to fight so much?
my eyes tend to see all things as rather ordinary and i want to show off the simple things i find, to revel in their nature and then to figure out an expression that suits the two -- the object itself and my attitudinal relationship with it. for me, more than ambiguous emotional terms, i favor HEAT and MOTION as the aspects of light that i choose to focus on.
because my life is so interlapped with photography, i am both a camera and a painter, a robot and a brain, a drone and brighter magick user.
i can't help this double nature and like prince said, you'd better know your dark side and your bright side and if they can get along and you end up bright, that is the path of the philosopher guide.
so if that's you, now is the time!
RISE up among the people.
use your intelligent power to untangle the ropes of darkness!
but i digress.
so through and along my urban and townsy journeys -- santa barbara, seattle, san francisco, santa fe, san diego, amsterdam, manhattan -- i eventually found my way to flowers.
they grow in the front yards of the people's homes wherever i walk, or in buckets at a florist shop along the street or a grocery store. the beauty of flowers is everywhere.
and flowers are a reminder that everything dies. but it can be beautiful.
and we cut flowers for their beauty.
for me, roses are wanton.
they are my third form/series of liquid paintings.
the second one, and the most explored/exploded, is the exploding rainbow dahlia.
and where roses are wanton and vain-glorious (really, i had no idea!), the dahlia is like a swiss community with its order and its architectural phenomenon.
my exposure to dahlias was limited before i arrived in san francisco. i had painted orchids, peonies, chinese rose, birds of paradise, cala lilies, california golden poppies, and tulips.
but dahlias and the rainbow seemed like they were made for each other. that those TWO THINGS were US. that we, as people were just like dahlias in the way we ordered and constructed our lives. the dahlia with its form for capturing and storing light and moisture, and the exploding rainbow with its blatant and broken spectrum of blasting color.
so i floated those dahlias in space where a million things were happening all at once. everything as one moved into a constellation. i added multiple sided die and glinty bits of ambiguous crow candy for the eye.
vanity and selfism, the star charisma of the rose's nature -- that of desire and death masked as finality -- was just another form of circustry in this new unexploited world of die and glinty, treasury bits spinning and rolling and falling through space, into space, as space. hitting and colliding, forcing loss and explosion and aiding decay.
and there was a war in these pieces which forced them into a liquidity.
that war was between the clarity of stasis and our fascination with movement.
the impressionists, aided ENTIRELY BY THE USE OF THE CAMERA, had learned that aperture values that the camera's limited technology could exploit at the time had shown new essentials.
aperture values taught the impressionists that they could DELETE things from the environment to increase the imaginative suggestibility of the viewers mind.
for example, if i have my focus on the nostrils of a racing horse and progressively blur and fade out the clarity as the horse goes away through foreshortening, the horse's nose will seem MUCH closer to the viewer and more three dimensional than it would if the receding part of the horse were in perfect detailed clarity.
people like manet realized even further, using the same deletion technique of the intelligence, that a glove could literally look MORE glove-like with just three strokes of a brush. indeed, that the SUGGESTION of a glove was infinitely more powerful and perfect to the impression of the piece than an actual glove ever could be.
so in my liquid painting, i envisioned a human circus as exploding rainbow dahlias. our vanity and self-love; our beauty and our grace; and our aging and exploding.
all with dreams of promise, jewelry in the sky, and an unending ability to NEVER grasp much of anything.
and we are constantly coming in and out of focus in our own lives, a living constellatory fascination with ourselves and others creating patterns and habits and occupations.
and that rabbit hole lasted for several years.
it started in 2010/11 as a discovery process and eventually ended up producing over 6,000 images of that world. enough to create an app that could endlessly recreate the world imagined.
and the goal was to document every conceivable color pattern that the human eye could see.
and i think it worked.
it also led to the conclusion of the PIXELWITHIN theory.
which i have elaborated over on torbakhopper's news outlet, lol. the merkaba is a beautiful thing!!
so now the rose.
sometimes slutty, sometimes regaling and proud. sometimes curvy, sometimes more than curvy or with torn edges and hot little shadows.
england had a war over roses.
just like the u.s. had a war over rubber. just kidding. it was all about democracy and partiotism.
and roses are more likely to cause trouble than dahlias.
dahlias are all about the community as a metaphor.
there is a fundamental "coming together" about dahlias.
whereas, honestly, roses are all about falling apart.
this large group of examples are all different now. just like the other forms of liquid painting, CHANGE is a part of the game.
"Returning to our camp, I noticed that my thumb and index finger were still assuming mudras, offering closure to my open mind, an intuitive habit that naturally arose after that first DMT session. I sat with my legs crossed and I closed my eyes to meditate on Merkaba and was almost instantly shown the double helixed coil, a fiery tube torus, which I begin to play with, between my hands, allowing the coil to flow by my heart. I cannot begin to describe to you the fieryness of the fuchsia in which these visions were transmitted, nor the depth of focus they provided for me, their timelessness, their pink love-essence. The vision imparts imp art--a magic eye/I exposition of the word.
The Living Parable, The Living Word, I, Open.
The pink coils flowing between my hands transformed effortlessly into three mushrooms entwining in ascendence as psilocybe caduceus. These are magic eye pictures, they really are, mental holograms.
Finally there it is: the jeweled, transcendental disco ball. This one is distinctly a concrescent icon from Mckenna's descriptions of the "transcendental object at the end of time", the concretization of our cravings to commune with that unspeakable singularity that ties everything and nothing together, the very abstraction that we have for ages been reaching for with our sputtering, muttering, stuttering and utterly exhausting historical uttering.
In his lecture 'Timewave Zero and Language' Mckenna said that 'one way of thinking about it is to compare it to one of those mirrored disco balls, which sends out thousands of reflections off of everybody and everything in the room. The mirrored disco ball is the transcendental object at the end of time, and those reflected twinkling, refractive lights are religions, scientific theories, gurus, works of art, poetry, great orgasms, great souffles, great paintings, etc. Anything that has, in Nietszche's phrase, the "spark of divinity within it," is in fact, referent to the original force of the spark of all divinity unfolding itself within the confines of three-dimensional space.'
The vision of this disco ball spun within me, burning bright and hot, like hot metal in that distinct obfuscated fuchsia of the DMT revelation, like the remaining pile of embers still hot from Ayahuasca's fire the night before, spinning before my eyes. Before and after any thing. Containing all things, the origin of all things, the source, re-source, sorcery.
A turning objectivity. An objective eternity.
It was as if this jeweled orb were my well-rounded brain that I beheld, turning in my mind's eye, on display like the jewel in the lotus. (My pawnshop past wants me to project the metaphor of a jewelry store's rotating display case upon it, but I cannot righteously adhere such cheapened trivialities upon these--the akashic records spun on a turn table.)
The tables have turned. Pasting trivial metaphors upon Meta-For-Itself is like saying that a landscape reminds you of a landscape painting, that when you actually see The Time Being it reminds you of a watch.
I'll name this vision one last time and call it a time capsule, and render it both priceless and timeless, to be consumed and digested.
In Hinduism all time is an eternal dance, the dance of Shiva and Shakti, the male and female principles setting the world into motion. It's a dance! and they are the lords of the dance, of the jig of life. They're getting jiggy with it. It's very disco, the journey through time, its discovery!
but the jig is up.
Among it's glinting gnostic reflections, caught like clairvoyant blasts that outwardly blinded me with insight, there were a scant few clad in familiar auras; distinctly sporting the sensational attire of cowgirls, the gopis in Tom Robbins' recollection of one of the tales of Krishna, wherein the blue god of love multiplies himself, clones himself so that he may equally satisfy all the cowgirls at once.
Meanwhile in the outside world, I was still sitting in tailor's pose under the slowly setting sun, and flowing the elastic, effluvial energy that was visible behind closed eyes between my palms, which fluently evolved into me striking certain poses, which distinctly struck Steve like glints cast off a disco ball, and he astoundingly proclaimed that he recognized the energy I was wielding.
"I know that!" he exclaimed in astonishment. "That's Krishna!"
I opened my eyes to the desert filled with energy, smiling intoxicated with bliss. It was as if I were shaped by the frequencial awareness of higher spheres, or perhaps in the fungal lingo, it would be more appropriate to say I was molded in their image to resonate the nature of the being that lorded those planes. But as soon as this was addressed, the deepening inward spell of the disco ball was broken, and the ball itself replaced by the setting sun, as the journey strived to continue in an outward fashion in an attempt to bring heaven down to earth."
an excerpt from 'Live from the Land of the Dead'
my first form of liquid painting was on abstract spiritual forms in motion.
i finished that series in 1999 after a show in which no one seemed to be intrigued by the essential qualities of what our eyes show to us.
i switched over to REAL representational art.
but i kept the NOT GALLERY aspect of my work pretty strong -- using way more black, only tints and shades and full chroma colors. i painted my feelings with the colors i chose.
and "my feelings" weren't intended to be my own.
i love classical ideology.
form and beauty and also our modern understanding that the 1 percent is fetish and nazi/fascist by its nature.
so i'm not into perfection as much as the idea of things that are just obviously better or trying or engaged or activated.
arguments about perfection are weird.
why do people like to fight so much?
my eyes tend to see all things as rather ordinary and i want to show off the simple things i find, to revel in their nature and then to figure out an expression that suits the two -- the object itself and my attitudinal relationship with it. for me, more than ambiguous emotional terms, i favor HEAT and MOTION as the aspects of light that i choose to focus on.
because my life is so interlapped with photography, i am both a camera and a painter, a robot and a brain, a drone and brighter magick user.
i can't help this double nature and like prince said, you'd better know your dark side and your bright side and if they can get along and you end up bright, that is the path of the philosopher guide.
so if that's you, now is the time!
RISE up among the people.
use your intelligent power to untangle the ropes of darkness!
but i digress.
so through and along my urban and townsy journeys -- santa barbara, seattle, san francisco, santa fe, san diego, amsterdam, manhattan -- i eventually found my way to flowers.
they grow in the front yards of the people's homes wherever i walk, or in buckets at a florist shop along the street or a grocery store. the beauty of flowers is everywhere.
and flowers are a reminder that everything dies. but it can be beautiful.
and we cut flowers for their beauty.
for me, roses are wanton.
they are my third form/series of liquid paintings.
the second one, and the most explored/exploded, is the exploding rainbow dahlia.
and where roses are wanton and vain-glorious (really, i had no idea!), the dahlia is like a swiss community with its order and its architectural phenomenon.
my exposure to dahlias was limited before i arrived in san francisco. i had painted orchids, peonies, chinese rose, birds of paradise, cala lilies, california golden poppies, and tulips.
but dahlias and the rainbow seemed like they were made for each other. that those TWO THINGS were US. that we, as people were just like dahlias in the way we ordered and constructed our lives. the dahlia with its form for capturing and storing light and moisture, and the exploding rainbow with its blatant and broken spectrum of blasting color.
so i floated those dahlias in space where a million things were happening all at once. everything as one moved into a constellation. i added multiple sided die and glinty bits of ambiguous crow candy for the eye.
vanity and selfism, the star charisma of the rose's nature -- that of desire and death masked as finality -- was just another form of circustry in this new unexploited world of die and glinty, treasury bits spinning and rolling and falling through space, into space, as space. hitting and colliding, forcing loss and explosion and aiding decay.
and there was a war in these pieces which forced them into a liquidity.
that war was between the clarity of stasis and our fascination with movement.
the impressionists, aided ENTIRELY BY THE USE OF THE CAMERA, had learned that aperture values that the camera's limited technology could exploit at the time had shown new essentials.
aperture values taught the impressionists that they could DELETE things from the environment to increase the imaginative suggestibility of the viewers mind.
for example, if i have my focus on the nostrils of a racing horse and progressively blur and fade out the clarity as the horse goes away through foreshortening, the horse's nose will seem MUCH closer to the viewer and more three dimensional than it would if the receding part of the horse were in perfect detailed clarity.
people like manet realized even further, using the same deletion technique of the intelligence, that a glove could literally look MORE glove-like with just three strokes of a brush. indeed, that the SUGGESTION of a glove was infinitely more powerful and perfect to the impression of the piece than an actual glove ever could be.
so in my liquid painting, i envisioned a human circus as exploding rainbow dahlias. our vanity and self-love; our beauty and our grace; and our aging and exploding.
all with dreams of promise, jewelry in the sky, and an unending ability to NEVER grasp much of anything.
and we are constantly coming in and out of focus in our own lives, a living constellatory fascination with ourselves and others creating patterns and habits and occupations.
and that rabbit hole lasted for several years.
it started in 2010/11 as a discovery process and eventually ended up producing over 6,000 images of that world. enough to create an app that could endlessly recreate the world imagined.
and the goal was to document every conceivable color pattern that the human eye could see.
and i think it worked.
it also led to the conclusion of the PIXELWITHIN theory.
which i have elaborated over on torbakhopper's news outlet, lol. the merkaba is a beautiful thing!!
so now the rose.
sometimes slutty, sometimes regaling and proud. sometimes curvy, sometimes more than curvy or with torn edges and hot little shadows.
england had a war over roses.
just like the u.s. had a war over rubber. just kidding. it was all about democracy and partiotism.
and roses are more likely to cause trouble than dahlias.
dahlias are all about the community as a metaphor.
there is a fundamental "coming together" about dahlias.
whereas, honestly, roses are all about falling apart.
this large group of examples are all different now. just like the other forms of liquid painting, CHANGE is a part of the game.
my first form of liquid painting was on abstract spiritual forms in motion.
i finished that series in 1999 after a show in which no one seemed to be intrigued by the essential qualities of what our eyes show to us.
i switched over to REAL representational art.
but i kept the NOT GALLERY aspect of my work pretty strong -- using way more black, only tints and shades and full chroma colors. i painted my feelings with the colors i chose.
and "my feelings" weren't intended to be my own.
i love classical ideology.
form and beauty and also our modern understanding that the 1 percent is fetish and nazi/fascist by its nature.
so i'm not into perfection as much as the idea of things that are just obviously better or trying or engaged or activated.
arguments about perfection are weird.
why do people like to fight so much?
my eyes tend to see all things as rather ordinary and i want to show off the simple things i find, to revel in their nature and then to figure out an expression that suits the two -- the object itself and my attitudinal relationship with it. for me, more than ambiguous emotional terms, i favor HEAT and MOTION as the aspects of light that i choose to focus on.
because my life is so interlapped with photography, i am both a camera and a painter, a robot and a brain, a drone and brighter magick user.
i can't help this double nature and like prince said, you'd better know your dark side and your bright side and if they can get along and you end up bright, that is the path of the philosopher guide.
so if that's you, now is the time!
RISE up among the people.
use your intelligent power to untangle the ropes of darkness!
but i digress.
so through and along my urban and townsy journeys -- santa barbara, seattle, san francisco, santa fe, san diego, amsterdam, manhattan -- i eventually found my way to flowers.
they grow in the front yards of the people's homes wherever i walk, or in buckets at a florist shop along the street or a grocery store. the beauty of flowers is everywhere.
and flowers are a reminder that everything dies. but it can be beautiful.
and we cut flowers for their beauty.
for me, roses are wanton.
they are my third form/series of liquid paintings.
the second one, and the most explored/exploded, is the exploding rainbow dahlia.
and where roses are wanton and vain-glorious (really, i had no idea!), the dahlia is like a swiss community with its order and its architectural phenomenon.
my exposure to dahlias was limited before i arrived in san francisco. i had painted orchids, peonies, chinese rose, birds of paradise, cala lilies, california golden poppies, and tulips.
but dahlias and the rainbow seemed like they were made for each other. that those TWO THINGS were US. that we, as people were just like dahlias in the way we ordered and constructed our lives. the dahlia with its form for capturing and storing light and moisture, and the exploding rainbow with its blatant and broken spectrum of blasting color.
so i floated those dahlias in space where a million things were happening all at once. everything as one moved into a constellation. i added multiple sided die and glinty bits of ambiguous crow candy for the eye.
vanity and selfism, the star charisma of the rose's nature -- that of desire and death masked as finality -- was just another form of circustry in this new unexploited world of die and glinty, treasury bits spinning and rolling and falling through space, into space, as space. hitting and colliding, forcing loss and explosion and aiding decay.
and there was a war in these pieces which forced them into a liquidity.
that war was between the clarity of stasis and our fascination with movement.
the impressionists, aided ENTIRELY BY THE USE OF THE CAMERA, had learned that aperture values that the camera's limited technology could exploit at the time had shown new essentials.
aperture values taught the impressionists that they could DELETE things from the environment to increase the imaginative suggestibility of the viewers mind.
for example, if i have my focus on the nostrils of a racing horse and progressively blur and fade out the clarity as the horse goes away through foreshortening, the horse's nose will seem MUCH closer to the viewer and more three dimensional than it would if the receding part of the horse were in perfect detailed clarity.
people like manet realized even further, using the same deletion technique of the intelligence, that a glove could literally look MORE glove-like with just three strokes of a brush. indeed, that the SUGGESTION of a glove was infinitely more powerful and perfect to the impression of the piece than an actual glove ever could be.
so in my liquid painting, i envisioned a human circus as exploding rainbow dahlias. our vanity and self-love; our beauty and our grace; and our aging and exploding.
all with dreams of promise, jewelry in the sky, and an unending ability to NEVER grasp much of anything.
and we are constantly coming in and out of focus in our own lives, a living constellatory fascination with ourselves and others creating patterns and habits and occupations.
and that rabbit hole lasted for several years.
it started in 2010/11 as a discovery process and eventually ended up producing over 6,000 images of that world. enough to create an app that could endlessly recreate the world imagined.
and the goal was to document every conceivable color pattern that the human eye could see.
and i think it worked.
it also led to the conclusion of the PIXELWITHIN theory.
which i have elaborated over on torbakhopper's news outlet, lol. the merkaba is a beautiful thing!!
so now the rose.
sometimes slutty, sometimes regaling and proud. sometimes curvy, sometimes more than curvy or with torn edges and hot little shadows.
england had a war over roses.
just like the u.s. had a war over rubber. just kidding. it was all about democracy and partiotism.
and roses are more likely to cause trouble than dahlias.
dahlias are all about the community as a metaphor.
there is a fundamental "coming together" about dahlias.
whereas, honestly, roses are all about falling apart.
this large group of examples are all different now. just like the other forms of liquid painting, CHANGE is a part of the game.