Romanian Day in Ireland

Today (Dec. 1st) was Romania's National Day. It didn't start off so good, with the phenomenon called "freezing rain" (which is very rare around these parts) making a spectacular entrance, followed by floods... and also the Military Parade, which I can hardly see the appeal of in the 21st century (except for humanitarian missions, but you don't need missiles for those!).

But it closed in a cheerful manner, of which I was infinitely pleased: I heard of an unusual show in Ireland, involving their national orchestra. A composer has put to music the lyrics from our "Merry Cemetery" headstones (http://en.wikipedia.org/wiki/Merry_Cemetery) - linking our two cultures across time and space, and performing the songs with the help of the choir format. A Pixie-looking girl from the Irish audience said, "Teens should listen to more music like this". The composer described it as an "Adventure". Another description of it explained how the lyrics bring those people into the present.

Now THAT was something I felt like celebrating today (the connection with Ireland being something so deeply intuitive within me, that I get high whenever anything like this happens in reality) - although I can see the connection isn't known, i.e. they are not two different cultures at their root. Catch the Stargate Crosses! But perhaps this is where I come in...

Cosmic Love - spectacular video

This is a SPECTACULAR video from Florence & The Machine, I like it very much. The lyrics present a wonderfully precise depiction of what Cosmic Love entails, which makes me wonder what inspired them. The song was also featured on The Vampire Diaries, which furthers the connections between the modern vampire concept and stargates (it all goes back to Osiris as an underworld figure). I like things like this, showing the point of view of someone who falls in love cosmically: cosmic love is a "transgression" that, once accepted, is quite uplifting...



An interesting detail is the the maple leaf - less known as a symbol of love. However, earlier this year I had a dream where it represented just that - this video now being the only place I know where it does the same.

Therion

Apparently these Swedish guys are very popular here and that's why they are returning for another concert.
I don't listen to any heavy metal, but these graphics grabbed my eye today (because of the Theta-connection). A quick search reveals that they were inspired by Nordic mythology, and this has become entirely Christopher Johnsson's project, who is into a type of "dark and confused spiritual realm, which he completely owns up to, however". Good on him.

I don't see this going any further with me, but I'll just do a quick research as an exercise. I do know most of those references. And no, it may be dark but it isn't necessarily confused (one's own judgment of it can be), and the lyrics are not "difficult to penetrate" - they're straightforward listings of occultist concepts. When I say occultist concepts, I mean "the way the occultist inteprets that which is". (The suffix "ism" means that you commit yourself to a particular way of seeing and interpreting information. However, the same reality may be encountered by other groups, who will present it in a different light).

Romanian Fairytales & Mircea Cãrtãrescu

I have discovered that Romanian culture has a distinct involvement with Stargates, expressed first and foremost in the belief that the land itself is a so-called "Mouth of Heaven", as in being found on the borderline between dimensions (sensing this opening into another realm). These are the most recent clues I've come across.

Fairytales of the Romanians,  book series sale ad:

[x]

And Mircea Cãrtãrescu says that "life as something between birth and death, surrounded by nothingness" is a mindframe we need to overcome: life is a larval or pupal stage, which enables us to then "take the gate to Universal life". 

This is very interesting as it also recalls Mihai Eminescu's explanation of "genius" as someone who already has a Passport in life, to this Universal life. Note that this is not about 'rewards' or 'punishments', but about what the human individual does from within - affinities, attractions, and the way the soul is diligent in following his own path.

More recently, people have started noticing that through the work of Poets, what is called "scientific knowledge" is being transmitted - even before certain principles are discovered as part of 'Science'. This is certainly a field I'd like to explore more in the future: how can a poet know how the Universe was formed, for example, without any scientific training, and then have his ideas confirmed by later ages? 

Michelangelo's Piazza del Campidoglio

In my previous post, I mentioned Vivaldi's Andromeda Liberata. Now I will go further back in time to the Renaissance, whencefrom we get most of our modern concepts from (such as individuality, etc). Someone showed me a picture of Michelangelo's design for the ideal town square - explaining that, in those days, architects began to dream of ideal cities in the shape of octagons, pentagons and so on. (It is a shame really that this is viewed as limited to the Western society, since the idea of mandala-shaped cities is very prominent in Asia, of course. In my personal view, however, I do not sense why these Platonic, geometrical city shapes would be internally important. Even walking in a geometrical garden, there is a contradiction, not an expression, of natural principles and flow. You know it should be a square, but you just can't see it. The only place it makes sense is from above - an aerial view. Perhaps they were made to be admired from Space? Feel free to disagree, and let me know if you can make out the connection to an internal effect on the geometrical city's inhabitants... other than "We all live inside a perfect octagon and you do NOT! HA!").

When I saw this image of Michelangelo's town square, I had a very distinct reaction, that of accessing Other Sight. The psyche gives way to something wider, and thus relates to something that escapes everyday, directed scrutiny. Spiders create their webs, beavers build their dams, bees their hexagonal tubes, snails their perfectly spiral-shaped shells, etc - humans are also capable of amazing architecture.

We are, however, "symbologically" conscious of that which we create - and this symbol-consciousness sometimes obscures the wider implication of the symbols we use. For example, it is generally explained that Michelangelo wanted to portray the 12 constellations and even the Omphalos Stone, in his design (in his attempt to connect Italian identity to Etruscan culture). But explaining it this way tones down and encages the profound impact that these realities (constellations, Omphalos Stone) might have on perception. It is much easier to see them as artifacts in history, and get only their "legacy" value, rather than interact with them anew. Once we have named something, we think we have understood it. But how did the Omphalos Stone actually work? What do we really know about the workings of the minds of historical (and prehistoric) men? (I think there are a number of books on this very interesting subject, how the mind layers time, the spirit within things, and our fascination/horror with stories about "reactivation" of lost artifacts).

Michelangelo's involvement with such a concept can therefore be relegated to the level of the Ego (outer meaning), where he is entirely conscious of what his design "means" (the purpose he has imagined for it, a purpose which is entirely bound to his historical and political context). This, however, doesn't explain why his design ends up resembling the Native American "dream-catchers" (inner meaning), or our modern understanding of Relativity and Astronomy. And it doesn't say why this looks precisely like a Vortex or Wormhole grid, as it is understood by modern scientists.

Viewed this way, the issue of placing a statue of a Roman emperor in the middle star (which apparently went against Michelangelo's wishes) is certainly interesting. We tend to think of Roman emperors as people who were obsessed with order and who tended to plagiarize every culture they conquered, but some of them did ask a lot of questions: about themselves, the world, about what we're supposed to be doing here, and why they were found in such a demanding role.

B.o.B & Hayley: "Airplanes", Andromeda & Muses

Catch Bobby Ray's orbs, and Hayley playing the role of a Paranormal Phenomenon, haha. I think this is one of the most original ways I've ever seen this concept depicted in, and I really liked it: do you see the moving, living entity through still photographs? Wonderful. I think it describes our condition perfectly (and wouldn't it make her the Light?)

"I could use a dream, a genie or a wish" - you forgot: how about a fairy? ;)

By me:


By Corina:
I was struck by the similarities between these two drawings, because we had never looked at each other's work before, and because we both refer to the respective Muse of poets who were burdened by their fame - which in turn resonates with Airplanes above.
The Muses are Fairy women because they are visualized in the 4th dimension (the famous "wings" are symbolic of the soul's ability to fly the Cosmic Flight; they are not --as some people also believe about Angels-- wings of the body...).

Let me show you something...



Antonio Vivaldi: Andromeda Liberated (A Venetian Serenade). In those days, when you said "Concert", this is what people would understand by it, and would attend it just as we attend Pop concerts nowadays. It seems that Andromeda was burdened by her "fortune", which was the only thing her "admirer" saw - as opposed to Perseus (ancestor of the Persians) who saw her for who she was (another kind of "treasure"). The figure of the Monster (Vortex) is set to devour her if she is not liberated from this form of materialism. 
Aria 14: Con dolce mormorio [6:03] (Cassiope)
Recitativo 17: Perseo, che tardi più [1:17] (Daliso)
Duo: Sposo amato / Cara sposa [3:23] (Andromeda & Perseo)
Coro 3: Riconosc'in voi [2:31] (Daliso)
Andromeda: Simone Kermes (soprano)
Perseo: Max Emanuel Cencic (countertenor)
Cassiope: Katerina Beranova (soprano)
Daliso: Mark Tucker (tenor)

The Freedom Train: why a train?

I have been wondering why some references to a "Freedom's Gate" in culture have taken on the form of a Train. This is one of the things which cannot be an ancient symbol per se. So how did it enter Consciousness?

a) Why can't it be simply a train, and does it have to be a Stargate reference?
It depends on how this train interacts with the rest of its environment, and how it is framed. And in all these cases, it does act as a Symbol - being in the centre of attention, and a vehicle for certain feelings & emotions to do with a change in perspective, an escape from limitations, etc.
b) Maybe all of these people are just referencing each other?
It is possible, especially in this day and age of speedy information. But even so, the question remains "who was first?" and "what was behind THEIR specific way of framing the symbol?" - and why do we keep getting all these "Freedom" trains (which obviously do work separately, on each individual level where they are referenced)?

I think the answer may lie in American history - the abolishing of slavery, in particular. I was pointed to this answer by the story of the song Rock Island Line, about the train which smuggled slaves to freedom.
Likewise, Martin Luther King Jr. held his speech about using Faith to carve a tunnel in the mountain of despair.

The Symbol of the Train is not used just to escape one condition, but also to visit others: think of the Hogwarts express, for example, taking the students of Magic to another dimension where they are to be trained.

It is also a symbol of the Inevitable.

A variation of the Train would be the Underground or Subway (affectionately called Tube in London), which is even closer to symbolizing Stargates (which are supposedly tubes): it quickly connects different places in the city.

Happy birthday Bilbo and Frodo Baggins

Nephew Frodo & uncle Bilbo Baggins, Stargate dudes extraordinaire!* 

Here is a song in honour of the journey which begins at this time: Sissel, Pokarekare Ana (a World War I love song redone with Maori and Norwegian lyrics). Watch this space for the full explanation of the New Zealand Maori synchronization with Celtic beliefs.

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* Ralph Bakshi animation, 1978: I like this picture very much because, regardless of whether or not we've imagined the characters to look like this, I feel it expresses their "spirit" exactly. It also expresses a curiosity I notice time and time again: films made in the '60s and '70s (but not limited to those time periods) are incapable of transcending their respective current hairstyles, no matter that they are films about an ancient world, the 1700s, the 1920s, or a Space-age future: the same fashions are invariably "back in style"! Of course, this is only if we take it literally. Figuratively speaking, I believe it serves as a nod to certain things in our culture which, thus displaced, are re-examined in a new light.

I also like the picture because it reminds me of the book's funniest indirect physical characterizations (i.e. through the words of another character): "I've made an imitation of your head with a brown woollen mat, Mr. Baggins".

Through the Wormhole with Morgan Freeman

Where I am, this show premieres on the Science channel on 4 October (the day I go back to school, amusingly!). I wonder if it's because they 'heard' me rant on how the Discovery Channel never seems to update our scientific 'climate' accordingly.

Morgan: dweller of the sea, enchanter, the edge of the sea 

Freeman: a person awarded or inheriting the freedom, with any attached privileges, of a borough or city; a man who is not a slave or serf 

Mika's star tunnels

Here are some of Mika's stargates! 

Happy Ending (above): he ascends to a higher plane in a dream, sees the light, while the hands indicate the tunnel through which he can find "a little bit of love" and escape feeling "as if he's wasting".

In Love Today, he plays a very self-infatuated character (or perhaps someone who believes too much in the 'self-help' attitude). Love and attention (the 'heaven's light') are projected on a screen behind him, but there is somewhat of a disconnection.

Back to Happy Ending, there is also a highly significant scene, recalling Michelangelo's Creation of Adam and suggesting that this is about achieving God-consciousness (even though, as Deepak Chopra says, we feel that in the aftermath of Ecstasy/Glory, there is "ho happy ending" and we are abandoned. He says it is important to then follow the spiritual clues).

Bon Jovi: The Circle

I bought this on impulse when it came out... and never listened to it. I resonate with When We Were Beautiful. Also check out their G20 performance* of Livin' On A Prayer: the circled dot is prominent.

I do need to point out something which seems to be a common trait in these "gate travels": there's usually four characters (who appear bonded in friendship). No idea why four, exactly?

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* pointed out by synchromystic blogger @ Centreportal.

The Faerie Gateway (dream)

This was a dream-travel sequence from five years ago:

The next sequence began. I looked up at the stars through the branches of trees. An inner voice said the star cluster was the Pleiades. As I focused on one, more prominent star, it began to spiral slowly. This had quite a hypnotic effect which played on my sense of balance. I felt a tingling of excitement as I realized something was going to happen to me. I tried to calm my emotions as I knew they would project me out of what was being initiated. I surrendered to the star's motions and found that it had taken me through to another reality. As I looked back down and around me again, I was the same - but the landscape had changed.

I was in a fir forest, at evening time. I heard singing voices coming from nearby, and soon a few People met me, carrying lanterns. I could hear their voices inside my head. They gave me information, such as the fact that what to us was a modern Pop song had actually been taken out of Faerie a long time ago. If we listened to the words and the effects the words spoke of, we would recognize it, they said. 

We were on a wooded ridge, surrounding a lower area. The People attempted to gently lure me to a nearby 'welcome' area (I could see the projection of a house), but I told them I wanted to see what was beyond those Mountains in the distance. They explained that it was too far away for me to attempt that journey at that time, and that there were also obstacles like water which I could not swim. They then offered to show me something, and we went down to the valley.

There was a big, luminous Tree. The People said to stick around, because the Tree was 'just about to do something'. Indeed it did, it bloomed and I was struck by intense awe and wonder. It drew me closer and I realized this was another threshold. I opened my arms in acceptance - as I did this, I was pulled into a much more energetic ride than the way by which I had come in. With a breath that felt like my first intake of air after having learned to breathe underwater, I woke up in my bed. I exclaimed, "WOW!"

The 'energetic ride' happened through a tunnel exactly like the one shown below. There are many animations of 'wormholes', but I chose this one for its amusing annotation ("I saw this in my dream")... Seems I'm not the only one merrily tobogganing there!

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* Picture: "The White Tree" by Gunvor Paludan

The Freddie Mercury Star(gate), Feltham

The Freddie Mercury Star(gate), set up in Feltham in November 2009.
I especially like the Alchemical colours and the obvious Circled Dot (pentagon) with a "heart of gold".

This has a few differences from what a usual Hollywood-type star looks like. There are numerous elements which can be looked up to see what they say to you. But here is a basic description of the 'milieu' or location as it was when I visited:
This is a commercial 'town centre', and the star's location is bordered by such shops as: Peacock's, Risky, and Subway.

"Within this union of metals there was the assumption that the based metal dies and the more precious one was resurrected. Or it was thought to come back as a thing of many colors, sometimes described as a peacock's tail".

One commercial board stated:

"Your Sight is Precious. 20% off Transition Lenses."

So do we have to get our Glasses on, to better perceive Transition? Then of course there is Gladstone Avenue. And there was one intriguing road sign!

Alf King under fives centre

Did anyone say Five? (Anyone remember this? http://www.youtube.com/watch?v=aIV2SkMwesU "As long as Five bring the Four, Queen bring the Rock" - where did that come from? I seem to recall a rock is also a word for diamond...)

The relationship of two to three, in harmonical proportion, gives a tone which was not a likeness of one, but a tone which presents a new and powerful relationship to one. As such, five is called the first universal number. [...] The Star was the Egyptian symbol for both destiny and the number five. The ideal of the realized man was to become a star, and to become one of the company of Ra. [sailing with him in the Ark of Millions of Years]
The five-pointed stars were the homes of departed souls, as confirmed in the Unas Funerary Texts (known as the Pyramid Texts):
Lines 886-9: I am a soul ... I (am) a star of gold... and Here I am, O Ra, I am your son, I am a soul ... a star of gold...
Line 904: be a soul as a living star...

But perhaps a distinct synchronicity was the song that was on in one of the shops:

Honey Ryder: Rising Up

We’re rising up, we’re rising up
Caught up in the flames
We’re fired up, we’re wired up
Don’t get in our way
...

Usually when I travel I like to find out the underlying concepts in placenames (names and words being the 'doorways' they are). I was not disapppointed by where it took me this time!

London & Luton: associated with Lú/Lug/Lugh/Lugus (Celtic god & High King - of the Elves? His name implies a "Flash of Light" which is common to all tales of such beings)

Hounslow: hill or mound associated with Hundi, the Anglo-Saxon pagan:

"... the pre-Christian Anglo-Saxons believed in seven realms. The Anglo-Saxons referred to the realm humans live on as Middangeard (which was cognate to the Old Norse Midgard), and also to a realm called Neorxnawang, corresponding to the Christian idea of Heaven. ... in the Crist poem, there is a mention of Earendel, which may have been a name of the morning star, identified in the poem with John the Baptist (who heralds the coming of the Christ as the morning star heralds the Sun). Various scholars, such as Brian Branston and Clive Tolley have suggested that the pagan Anglo-Saxons held a belief in a world tree, similar to the Norse concept of Yggdrasil, though there is no solid evidence for this. The Anglo-Saxon concept corresponding to fate was wyrd, although the "pagan" nature of this conception is subject to some debate." (Wikipedia)

Feltham: homestead where mullein grows, or "open land"

Artistic Trio Sync

Synchronicity experienced in early 2009, bringing together one song, one written vignette, and one painting. By travelling between these three artistic creations (each representing a different medium), it is possible to highlight the entire corpus of information about a Stargate's "modus operandi" (Electromagnetics).

I. Beyonce Knowles: Halo


II. The Lord Of The Rings: As The Soul Flies Upward (fan fiction)

"He lifted me, and suddenly I was flying.
Upward, called by a refining fire, the flame that would tell me who I was.
Who HE was.
No longer a thing of dirt, I found my newly sprouted wings, golden ones that watered me, fed me, burned for me. The scorching ground was only a vivid nightmare in the Time of the Soaring. My wings were my shield, my sword, my armor, stronger than the ones who had fallen away in some manner I could only feel beneath me, see with the eyes of my heart.
For a moment, hell cooled."

III. Theresa Lucero: Strength Is A Phoenix

2009 Take That "Circus" Tour Stargate

"Relight my fire, your love is my only desire..."

Take That's "Circus" Tour in 2009 featured a VERY prominent Stargate in the stage design.

Hold Up A Light talks of how we access another world through following our favourite stars onstage, because we identify with "hope in love" (symbolized by the light). A Star (or Circus Actor) is someone who channels and makes visible our private desires. But a "Star" always has a "Gate" behind him. An Idol is a focal point for our attention, but behind this Mirror Image is always that inner passion which inspires us all equally. The imagery is of creating a Bridge between this world and the world of Ideals. In a world where there is escalating fear that the media is imprisoning our minds, this is a very welcome different perception which raises consciousness significantly, by explaining this experience as a mutual contract of co-creation and collective learning. The Stargate shows a tunnel of Orbs.  



Here more references are made to "Ruling the World", i.e. establishing order co-creatively. The Stargate shows a Jewel (Holy Grail). Fireworks  usually represent the onset of Cosmic Consciousness.

The Jewel blazes out its light so its shape is not clear, but in some videos there is a fleeting glimpse caught of its shape when the light is gentled, which is this. It can be traced as the shape of the mystical "Seat of the Soul". :)

"The Stars are coming out tonight, for you..."

The concept of "the stars are coming out tonight, for you" was embodied in a very personal experience of mine, in very similar wording. I was very surprised to find this inspiring a pop performance almost 10 years after, which holds the exact same message as my experience. This meaning centers on this word-play of Star, which studied deeper leads to the description of the Egyptian Underworld/Afterlife (and beside Egyptian, it is also Greek and Celtic, and Maori).

This experience was a dream. At first it was a nightmare, I was very angry with the demise of someone who had been a famous pop star. Somehow, within that frame I could not escape (which was symbolized by a basement), appeared a stairway and a figure dressed in white robes. He was like and unlike the famous person. He asked me to climb up the stairs. It was difficult, but I did, and found myself on his own level. This felt very strange. He said to look past him, and see the stars come out just for me. And that's what happened. The negativity then diffused, and I flew off the top of the stairs. I woke up and wrote a poem about enlightenment, and - once I found the Internet - shared it.

As these things go, they happen to you once but it takes years to decode them, while you keep thinking about them. Though I feel that nowadays I have come to understanding:

We are all the same, because of our Divine Spark. A modern Star or Idol, someone we admire and look up to, acts like the Sun ("a star so bright, you blind me..."). But the Stars will come out from beyond, in that moment of individual clarity, when we are no longer blinded and we See.

And the stars, which come out just for you, are real. What I accessed in that dream was our dawning Cosmic Vision, a psychic network which plays a significant part in all our ancient myths.

Evermore: Light-Beings and True Love

I found this while in New Zealand. Band Evermore took their name from the Led Zeppelin song title "The Battle of Evermore". It seems they like the Circled Dot too.

There is also the expanded Circled Dot which represents Vibration, in their concept video 'Never Let You Go' directed by Nash Edgerton & Spencer Susser -  based around wording puns and old 1940s 'newsreel' type clips (which in itself sends to communication theories).

And, below, a very nice song which, being about transformation (into a Being of Light), again reprises the Circled Dot. At the time of stumbling across this song, I was studying Transfiguration matters for the first time (not of Jesus, but of people who were experiencing it for the first time; Jesus seems to be already in-the-know, as he says "do not be afraid" and can easily move between human and Cosmic light-body). Lyrically speaking, "I" and "You" always refer to the Soul relationship, and each individual listener identifies with the lyrical "I". When you place all your feelings into the words, and push them out as air or sing along, you realize this Soul relationship. Therefore, here my studies matched the premise of the song/video: that a person may not correctly perceive their own "Aura" of Light, focusing on the negative feelings caused by spiritual growth. And in this case, the one who truly loves that person can see her destination and tries to open this vision for her, so that she understands she is shining from within once she overcomes her fear.       

2010 Tour posters: Aerosmith & AC/DC

Aerosmith and AC/DC 2010 tour posters.

Eurovision 2010: Playing with Fire

Paula Seling & Ovi with double piano, Golden Ring set design, and Wormhole screen graphics.
Lyrics formulas:
Girl/Boy standard role-prison (Ego) fought against. Challenge/No Relent dynamics (irrestistible force/immovable object); "Fire", rhyming with "burning desire" (as usual!); "Taking us higher" - raised consciousness; "Could it be just a dream?" - as in "is this really happening".

Voipici: An Individual Connection

"Wake-Up Exercises For Little Kittens", France, 2007*

The time was the 1980s, an Eastern European, Communist country. This means we had no tv or radio to bring us news from "the outside". Such things were considered "subversive", a threat to the system. No-one was allowed to see, hear or read anything that implied the world could be any different. Thinking for oneself was dangerous. But most people created their own isolated inner sanctuaries, and got by. Nowadays, I admire many of them very much, for living their artistic dream during such a difficult time.

I was around 4 years old and I loved to draw and paint. My earliest deliberate "creations" consisted of filling up entire sheets of paper with brushes of different colours interwoven until there was no more white showing between. This was my eager response to the suggestion that "a true painting leaves no white space" (as opposed to a drawing, which must have white space complementing the drawn elements).

One day I sat down and, very deliberately, established a black dot on paper, and then carefully circled it. I was very pleased. "What is that?", asked my parents. "It is a Voipici...", I answered.

A Voipici [voy-`pitch]

The image above is, of course, the universalized version of the Circled Dot. I do not have the original drawing now (though I do have the subsequent development of the Voipici - seen below). I must explain how I perceived this act: to me, the circled point on the paper was a real place. The fact that I had put it there made it into a "door". It was also a creature - it was alive, hence giving it an imaginary Species name. I wanted to convey the feeling that this was something benign and very funny; but I also wanted others to realize what it was, without asking me (self-evidence).

More of these Voipici started appearing afterwards, varying from the simple to the complex (by the way, given the nature of my native language, the name Voipici is both singular and plural). This, for example, is still a Voipici. [x]

(to be continued)

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* I loved the French children's book-cover because the "visionary" morning exercise implied there was also a spiritual pun in this "waking up". Coincidentally, one of my nicknames is Little Kitten.

The Alphabet Doorway

"I am glad that it was through me that you discovered your Red Fire", a friend of mine once told me.
Why this person (who has had no interest in the worlds of symbolism beyond what I brought to the table) would choose the term Red Fire, I am yet to figure out. Many people in my country seem to know things intuitively, and hold on to ancestral idioms even if this is not a conscious choice. She was referring to having indirectly caused one of my initiations. The way these work for me is they cause a psychological uproar which keeps me glued to my path of finding out about spiritual truths. Another word for it is obsession, which is a negative energy I have nevertheless learned how to use for receiving large quantities of information within a short period of time. This in turn balances me out to the point where the obsession fades out, and I have my spiritual truths.  

But back then I had not yet seen the ancient symbol for "Red Fire", and I did not look it up for a long while. That changed, however, with my purchase in 2006 of a New Zealand locally-made, paua inlay pendant which attracted me. I interpreted the circular opening within the solid triangle as a female energy within a male-dominated perspective. I then began to look further into it, and the results were quite amazing.

Here we can see how the symbol, if we take just the triangle and circle, represents the alchemical Fire and Water, respectively. The union of these is called the Secret Fire, which is also known by other names that try to suggest its ambiguous nature: Watery Fire, Fiery Water, etc.
But also notice how the two shapes are actually the Greek letters Delta and Omicron (I will also explore a connection of the latter with Theta).

What we know today as the Greek Alphabet was derived from the Phoenician one, replacing three previous writing systems for versions of the "Greek" language: Linear A, Linear B and the Cypriot syllabary. The Phoenician letters are ideograms, having evolved into both hieroglyphs and the modern phonetic-only alphabet. Here it is, as found on phoenician.org:

My letters therefore stand for "Door" and "Eye". (As a point of amusement, the "Camel" following right after "Door" reminds me of Jesus' quip, "It is easier for a camel to pass through the Eye of the Needle than for a rich man to enter the Kingdom of Heaven").

In his book The Spell of the Sensuous - Perception and Language in a More-Than-Human World, David Abram highlights a process whereby humans lost touch with nature and thus began feeling "exiled" by becoming overly involved with abstract thinking, to the detriment of direct sensory experience. This was brought about through the powerful magic of writing, which works by displacing attention - from the world around us to a world of ideas. However, he says, while the letters were still largely pictures of animals, elements, etc, writing still reminded people of interconnectedness, rather than creating an illusion of separation within a linear and ever more fragmented (specialized) perception.

In Tarot, the two letters stand for the Empress (Daleth) and the Devil (Ayin), respectively - though it is worth remembering that these Roles are never what they appear to be.
Note: this decoding seems to reverse the male & female forces I had perceived in the beginning, embodied in the symbol. Or, more precisely, the perception of the truly dominant and the truly submissive aspect is turned on its head. Here we find that the male "genius" (also known as a demon or devil), while perceived as a freak occurrence with no connection to anything else in existence, has his true source in the subtle creative "muse" whose reign is supreme (also known as Nature). The role of the devil is to challenge all preconceptions which cause stagnation.

...

Alfons Mucha: Halo

Alfons Mucha is my favourite designer. He identified with the Czech nation although his most famous work was achieved in Paris. He is best known for his Art Nouveau commercial work featuring beautiful women who pose against stylized backgrounds represented by elaborate halos.
He lived in a time characterized by an extraordinary impulse in society to learn the science of persuasion, alongside numerous developments in the study of psychology and spirituality. Much of our modern communication media was developed in that time: the use of ads, posters, packaging, titles and by-lines is essentially unchanged.

But Mucha wanted to use these tools for a different purpose: he was a very spiritual and religious person and he infused his work with the ideals that he held. This was not obvious to people in his time: they criticized him for "selling out", saying that this went against his spirituality and that his non-commercial work is the only valuable one he produced. On the other hand, his non-commercial work was also heavily criticized for other reasons - especially his work depicting the Slavic people's spiritual origins as he saw them.

At present, through the work of surviving members of Mucha's family in terms of books and exhibitions, his true intentions were brought to light and we can get a better understanding of how he made his designs work, and of how the separate areas he explored actually make one whole: 'selling' Awakening instead of material goods.

I would like to concentrate on "The Mucha Woman" and propose a connection with new scientific data which holds that the world... is a simulation.

This theory was developed through the study of subatomic particles.

[to be continued]

F.A.Q.

On this page I try to answer a few of the questions I have come across in relation to the overall information/theory in this blog. You can add to these Q&A by sending me yours, or ask for more clarification on answers already posted.

Definitions and reasons for terms I use:
Stargate: generic term describing the concept of spiritual doors, windows, or any other passage which connects one form of reality to another (one state of being to the next).
Sync: short for synchronicity, a term coined by C.G. Jung to describe events/phenomena which are grouped together by the subjective meaning their proximity evokes in the onlooker, rather than by the usual cause-effect relationship. Synchronicity (as an explanatory principle) is the usual way of looking at the world in the Native American culture, as well as being scientifically explained in the I-Ching (Jung's original source).
Nowadays, this explanatory principle is being rediscovered. I was initiated into the experience at 17, when I took off with it in an enthusiastic way. Since then, I have been bumping into lots of different people from around the world who are converging on this path.

Questions and Answers:
1. Is it coincidence, human-made, or is there a higher power?
2. Aren't you reading too much into things, and doesn't that impair your ability to enjoy them?
3. Do you think it's possible for imagination (which you make extensive use of) to be misleading? Isn't it better to be realistic?
4. "I don't buy this a-causal mysticism thing. You forget about manipulation. That's the only reason things appear to 'synchronize'."
5. You use a lot of examples from mass-media, such as books and television. Don't you miss out on the real world?
6. Choosing a path means that you must value it above everything else (i.e. exclusively). No-one can truly appreciate something unless they disregard the value of other paths.

1. Is it coincidence, human-made, or is there a higher power?
We could say that all of these three levels are true. Coincidence is, etymologically, the word for two events intersecting in some way (regardless of the interpretation). Likewise, humans can make many things happen, and have the power to affect reality in ways which other humans may not fully understand. The higher power explanation is a bit more thorny to expand upon, but it is best expressed by something entirely unexpected which crops up into consciousness (especially "good from bad"). Just be careful not to confuse something which has "more power" with somehing which is a "higher power", as there is an essential difference of attitude between the two.

2. Aren't you reading too much into things, and doesn't that impair your ability to enjoy them?
The most important thing in my life is my ability to enjoy it, so I am very careful not to damage that ability with my actions. For example, a true scientist spends his entire life analysing phenomena, and this makes him very happy. That's because he dedicates his life to something bigger than him: to always being in touch with that which has touched him. He doesn't use his mind to dissect things, but to free himself from his own preconceptions which cloud things over.
What is 'impaired' in this process is my ability to desire the using of things, which is a moral result (see my Voipici section). Using (exploiting) something is very limiting for the individual, whereas enjoyment is a sense of unrestricted expansion. "Reading too much into something" is a form of exploitation, so I avoid it as best I can.

3. Do you think it's possible for imagination to be misleading? Isn't it better to be realistic?
There is a confusion of terms where 'realism' is concerned. I am in favour of realism, but I disagree with the general misuse of the term (made by people who are too comfortable simply repeating what they have heard). What many call realism are in fact their own obsessions - which are hardly as 'all-encompassing' as 'realism' would need to be. Realism means that one is able to see past one's own limitations, and accepts that growth and evolution are present in all things (including one's own perceptions). Imagination is neither opposed to, nor denying realism. It's not possible to be realistic without using one's imagination, which is the ability to "think outside the box". As for it being "misleading", I believe this was just a fear set in place by those who wish to keep themselves and others from evolving. In reality, everything is a risk, not just imagination.

4. "I don't buy this a-causal mysticism thing. You forget about manipulation. That's the only reason things appear to 'synchronize'."
So... what do you propose to do?
If we spend our life in fear that we're being objectified, we are prevented from developing ourselves. This is a totally similar result to that of direct manipulation. Everyone is capable of both things, sincerity and manipulation. We each have our own dark side. By not knowing ourselves, we become as sheep and allow this dark side to manifest as if coming from others. But we are also part of the same levels which we fear: we have the potential to be the oppressors.
There is this trend now, to show one is 'awakened' by pointing out conspiracies everywhere and how not to trust anyone. This is good in principle (as when you wake up, you do see that a lot has been influencing you), but to take it seriously leads to serious error - demonizing what is merely the Unknown (including parts of yourself). You have to realize that everything you project on the external world, you have within you. But what would you like, or choose to have within? That will be the thing you cultivate, attracting more of the same.
A-causal mysticism, as you call it, creates an opening through which one is able to discern what makes us tick. So it isn't something that needs you to "buy it" - only a tool for grounding yourself in your own soil, without being "caused" (manipulated) by others. The latter is the normal state, but we don't have to fear this - just take it as an opportunity for learning.

5. You use a lot of examples from mass-media, such as books and television. Don't you miss out on the real world?
The "real" world? What is it, exactly? Here people make the same assumptions as they do about imagination. You know, just because something "appears" real doesn't mean it bears closer examination.
But to answer the question: I have often wondered why my path became such, but I have discovered many others who are very much into the same thing: giving a dynamic context to what is produced in terms of mass-media, while others are likewise giving a dynamic context to "real-world" events. So both are accepted/acceptable.
Art has always influenced Life in a profound way, even as Life has influenced Art. For me I guess the explanation lies in the fact that Art can sometimes reach people much faster, and on a deeper level. Where politicians and diplomats, and even formal education fail, we already have the cultural achievements of others close by - inspiring and influencing us everyday - connecting us to those we would have never been connected to. Not merely entertainment, things disseminated through mass-media represent philosophies - and philosophies effect real-life transformations (think of the ancient Greeks who lived by the myths they made, and for whom theatre was an emotional therapeutic). So it's an asset to be able to read these intentions correctly, which I have trained myself to do: read the dreams and aspirations of others, through what they produce artistically. This is connected with the a-causality discussed above..

6. Choosing a path means that you must value it above everything else (i.e. exclusively). No-one can truly appreciate something unless they disregard the value of other paths.
Not so... This is in relation to religion and any form of organized groups. It has everything to do with being made to feel special. I have come to understand that every great good and every great evil in the world are essentially inspired by the same Spirit of love, but the difference lies in how the recipient interpretes it, i.e. deals with that energy. This Spirit of love organizes one's own centre around it: a person begins to gravitate around it and it is the main reason behind all of one's (seemingly disparate and illogical) actions. But if you can see that everyone has their own special connection which inspires them personally, their own Principle by which their world is organized (just as you have yours), doesn't mean that you are "morally relativistic" or anything like that. .........