28 Sep 2010

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 piĆ¹ [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)

26 Sep 2010

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.

22 Sep 2010

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.

* 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".

21 Sep 2010

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 

17 Sep 2010

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).