TIMES, TIME, AND HALF A TIME. A HISTORY OF THE NEW MILLENNIUM.

Comments on a cultural reality between past and future.

This blog describes Metatime in the Posthuman experience, drawn from Sir Isaac Newton's secret work on the future end of times, a tract in which he described Histories of Things to Come. His hidden papers on the occult were auctioned to two private buyers in 1936 at Sotheby's, but were not available for public research until the 1990s.



Showing posts sorted by relevance for query "tree of life". Sort by date Show all posts
Showing posts sorted by relevance for query "tree of life". Sort by date Show all posts

Saturday, December 28, 2019

Awaken the Amnesiacs 12: Kevin Spacey's Fourth Wall Christmas


Image Source: pinterest.

On Christmas Eve, the American actor Kevin Spacey posted a sociopathic video, entitled KTWK, on Youtube. He appeared in character as House of Cards' Jack Underwood and uttered veiled threats at unnamed nemeses.

KTWK (24 December 2019). Video Source: Youtube.

Saturday, January 27, 2018

Awaken the Amnesiacs 9: A True Mirror of a Better World



The preface to this post is a new piece I have published at Vocal Media:


Part of my series, Awaken the Amnesiacs, involves coming to terms with life in a surveillance state, where privacy has been lost. My earlier post, Reflection Reversal, introduced the idea that computer screens and monitors act like mirrors which turn viewers into objects, rather than subjects.

The core of this idea is the fact that we think we are in control of technology. Tools are objects and we are subjects. Right? We think we are using computers to empower and express ourselves. But there is a warning sign in our addiction to technology.

Our technology is constantly subliminally objectifying us, enslaving us, and siphoning off our energy. This unconscious inversion of individual integrity is creating underlying cognitive dissonance, tension, anxiety, and stress. As a result, we are absolutely convinced that 'something is wrong' with the whole world. There is endless harping, conflict and confusion over 'who is to blame' for this grating distress. It never occurs to us that 'what is wrong' is the lens we are using to view reality, not reality itself, nor the people [insert annoying/threatening group here] who bother us.

Thus, part of resolving 'what is wrong' with the world is not to: ramp up our attacks on the annoying people who bother us; or to withdraw into depressive, individual introspection; or to get lost in wacky spiritual practices or cults; or to become engrossed in conspiracy theories as a comforting alt-reality; or to lose yourself in virtual reality environments like Facebook or video games; or to heal what is wrong by self-sacrificing to aid the world and help others; or to immerse yourself  completely in the real world, like work, job, bank account, and hard, cold facts no matter what ...

Part of resolving 'what is wrong' with the world involves reconsidering the art of perception and self-perception in the turbulent times of the nascent surveillance state.

So how should we define ourselves? As we see ourselves, as others see us, or as technology sees us? The conventional self-help wisdom these days is to define ourselves from the inside out, not the outside in. We are counseled to know ourselves, and to go forth in the world in an authentic and grounded way.

The Limits of Consciousness

Your brain hallucinates your conscious reality | Anil Seth (18 July 2017). Video Source: Youtube.

Good luck with that! Before you can get past the social contract, the job, the expectations, the cv - before you can tame your ego and become a soulful human being through internal consciousness and then try to awaken beyond consciousness - and before you can even get to the fact that computers are constantly undermining that process - there is another problem.

Consciousness -- the final frontier | Dada Gunamuktananda | TEDxNoosa 2014 (16 April 2014). Video Source: Youtube.

The True Mirror

We almost never see ourselves accurately, at least physically. Because we primarily have used mirrors to see ourselves, we do not see ourselves correctly, nor do we know how others see us.

Robbie Burns Day just passed, and the great Scottish poet wrote in his 1786 poem, To a Louse:
"in the original Scottish, 'O wad some Power the giftie gie us, to see oursels as ithers see us!' Or, in modern English, 'Oh would some Power the gift give us, to see ourselves as others see us.'"

Thursday, December 15, 2016

Awaken the Amnesiacs 7: The Economist Predicts the Year 2017


The Economist predictions for 2017, released November 2016. Image Source: The Economist.

When I saw that The Economist's tarot spread cover for its special issue predicting next year, my heart sank. After the American election, #proofoflife at WikiLeaks, and the impeachment of the South Korean president, I did not want to think about any more political weirdness. In case you have had enough too, here is my TL;DR on The Economist's message:

The cover may or may not predict a terror attack in Europe or a nuclear threat in Asia in the first quarter of the year, cementing Trump's presidency in the second quarter. Despite the fact that Trump will backtrack on promises, his ability to mesmerize the populist masses will grow. A huge upheaval is expected in the third quarter, with Merkel likely to lose the German election and Wilders and LePen gaining in earlier elections in the Netherlands and France. A divided body politic must find middle ground. After watching this unfold, the globalist liberal establishment will renew itself by December through the debut of exciting new technology, increased connectivity in developing countries, and a redoubled effort to control the public space, both online and off, with figures from government, banking, entertainment and academia entering online discourse in earnest. They will absorb formerly independent Internet enterprises, recapture lost ground, go on the attack, and flip the populist script.

On Youtube, I sensed the alt-right, alt-media types didn't want to look at The Economist. They are weary. "They do this to us every year," sighed one Youtuber after making three videos on the subject. Even the conspiracy theorists are sick of conspiracy theories. They only reviewed this Planet Trump thing out of a dogged sense of obligation to keep up their end - New World Order, Illuminati, Trump, Pizzagate, yadda yadda. They were all sure about one thing. The cover contains a hidden message.

I envy the flat rationalist, who would scoff before imagining anything arcane here. This is merely an illustrator's whimsical reference, as though the editors had chosen a picture of a woman reading the future in a crystal ball. I hope it is true.

Perhaps the editors did this as a tongue-in-cheek layout to bait crazy conspiracy theorists. Actually, I think the editors at The Economist do not care how the cover is received by the alt-media, who are beneath their contempt. If so, then this is another tone-deaf, top-down misconception of the impact of the Internet on the public debate. On the Internet, mimetics, semiotics, virality and truth excavations rule the day, not inside jokes and polished arguments to a select audience. A tarot spread confirms the worst conspiracy theories about magic infecting high politics. To give evidence of this - straight from the horse's mouth - strengthens the alt-media, which cannot be good for The Economist.

In an earlier post, Magic, Numerology and the IMF, I observed that Christine Lagarde did not realize that she now had to speak to two audiences. Every speech she made would be channeled into the old MSM theatre, as well as the alt-media. She plainly did not understand the latter at all. Her clever asides would be taken the usual way by the old establishment, but on Youtube, they would feed the independent machine of conspiracy theorizing and populism.

To make matters worse, she seemed to confirm the conspiracy theorists' fears about a magic-obsessed establishment. Lagarde was making predictions for the year 2014, peppering her predictions for the coming year with numerological nudge-nudge-wink-wink-hint-hints, which promised (precisely, down to the day) the manipulation of oil prices to hurt Russia. To the alt-media, this made it look like her policy speech had a magical subtext and potency. The liberal democracies are supposed to be secular, humanist, and rationalist; they should not be run by the rules of parlour games, or by people who believe that parlour games are real. I argued that parlour games should stay in the parlour.

Friday, October 21, 2016

Countdown to Hallowe'en 2016: New Atlantis at Denver International Airport


An enormous blue horse sculpture with glowing red eyes greets Denver International Airport entrants. During construction in 2006, part of the sculpture fell on the artist, Luis Jiménez and killed him. Officially dubbed Blue Mustang (2008), locals nicknamed the 9,000 pound stallion 'Blucifer,' and decided it looks like the pale demon horse carrying Death, one of the four horsemen of the Apocalypse. Others say it relates to the Blue Star Kachina in a Hopi prophecy of the destruction of the world. Image Source: flickr.

One of the pinpoints on the globe which conspiracy theorists associate with apocalypse and New World Order is Denver International Airport. The Committee for Skeptical Inquiry scoffs at this, but acknowledges that the airport has become a hub for conspiracy theories about how the world is changing.

Locals think the airport may be a secret shelter for the government, or a military base in the event of global conflict. Do this city and its airport have more strategic importance than we know? Some think the airport has underground tunnel connections to an official bunker further west. Truthers and New Age occultists suspect the airport is the Illuminati's site of 'New Atlantis' after World War III.

Image Source: flickr.

Millennial paranoids got this idea from a novel, New Atlantis, by Sir Francis Bacon, published in 1627, which you can read here. In the book, Bacon explained the driving motivation of secular rationalists:
"The end of our foundation is the knowledge of causes, and secret motions of things; and the enlarging of the bounds of human empire, to the effecting of all things possible."
Their foundational centre, the triumphant capital of enlightened intellectuals, would be named New Atlantis. Bacon situated this endgame metropolis in America:
"For the several employments and offices of our fellows; we have twelve that sail into foreign countries, under the names of other nations, (for our own we conceal); who bring us the books, and abstracts, and patterns of experiments of all other parts. These we call Merchants of Light. 

"We have three that collect the experiments which are in all books. These we call Depredators. 

"We have three that collect the experiments of all mechanical arts; and also of liberal sciences; and also of practices which are not brought into arts. These we call Mystery-men. 

"We have three that try new experiments, such as themselves think good. These we call Pioneers or Miners.

"We have three that draw the experiments of the former four into titles and tables, to give the better light for the drawing of observations and axioms out of them. These we call Compilers. 

"We have three that bend themselves, looking into the experiments of their fellows, and cast about how to draw out of them things of use and practise for man's life, and knowledge, as well for works as for plain demonstration of causes, means of natural divinations, and the easy and clear discovery of the virtues and parts of bodies. These we call Dowry-men or Benefactors. 

"Then after divers meetings and consults of our whole number, to consider of the former labours and collections, we have three that take care, out of them, to direct new experiments, of a higher light, more penetrating into nature than the former. These we call Lamps. 

"We have three others that do execute the experiments so directed, and report them. These we call Inoculators. 

"Lastly, we have three that raise the former discoveries by experiments into greater observations, axioms, and aphorisms. These we call Interpreters of Nature. 

"We have also, as you must think, novices and apprentices, that the succession of the former employed men do not fail; besides, a great number of servants and attendants, men and women. And this we do also: we have consultations, which of the inventions and experiences which we have discovered shall be published, and which not: and take all an oath of secrecy, for the concealing of those which we think fit to keep secret: though some of those we do reveal sometimes to the state and some not.
Critics argue that Bacon's vision closely describes modern international globalization's rampant science, technology, and materialist consumerism. Conspiracy theorists believe that Bacon's work inspired the Illuminati when they planned their future capital of the New World Order. When the theorists began to guess where that projected site might be, they focused on Denver, Colorado, USA.

In 2009, the Telegraph posted a curious slideshow of World War III comics, without attributed author or artist, entitled, "Operation Blackjack - the story of a series of terrorist nuclear attacks on major western cities and the aftermath." This series caught the attention of conspiracy theorists and became notorious on the Internet. In the slideshow, Denver becomes the capital of the future state of the Union of North America. In reality, 'Operation Blackjack' is a series of weekend wargames staged in locations in the USA; an affiliated UK site is here. Image Source: The Telegraph via Youtube.

The full Telegraph slideshow. Video Source: Youtube.

Monday, December 21, 2015

Awaken the Amnesiacs 3: The Hermetics


The hermetic principle of silence. Image Source: Lilipilyspirit.

Dark days behind us: today is the winter solstice in the northern hemisphere and the summer solstice in the southern hemisphere (04:49 UTC). The December solstice refers to birth or rebirth of the weakened sun in northern countries, often described in allegorical terms, as one New Age writer puts it: "The sun is dawning after the increasing darkness of winter. The Winter Solstice is nature’s physical equivalent of a spiritual awakening and enlightenment." From Theosophy Northwest:
At the winter solstice the universal currents of life help human consciousness to enter divine spheres. At the same time spiritual energy can descend from higher worlds into the human arena: the gods "descend into hell" to garner experience in their underworld -- our own world -- thereby bringing inspiration and enlightenment to humanity. At this time each of us also may undergo a new birth. Nature has opened the door, and it is up to us to recognize this and take a step further.
For denizens of the New Age Internet, this solstice is the culmination of 2015's online spiritual awakening, perhaps a Fifth Great Awakening in the United States, occasioned by a proclaimed end to the war between the sexes. When combined with hermeticism, discussed in today's post, the gnostic truce between the sexes attacks all polarized categorizations of identity. Online gurus argue that only hardened egoists prosper in an environment where inflexible categorizations of identity are the norm. Spiritual commentators prefer to cultivate a continuum of identities and they expect that spectrum to expand social compassion.

The winter solstice at Stonehenge. Image Source: Stonehenge Trips.

In the aftermath of the supposed collapse of egocentric western dualism, hermeticists pick up the pieces, to recover cultural memory and allow their amnesiac followers to 'remember' earlier ways of identifying with the physical, rational, emotional and spiritual aspects of existence. The hermetic part of this phenomenon makes the now-gender-neutral collective unconscious 'conscious' in practical senses, as with the establishment of new political movements. Of course, the shift in values is not widespread or universal. Nor are gnostic-hermetic solutions necessarily good ones, whatever their devotees may expect.

One must step back from the arcane language and beliefs to observe the actual trend behind them. Online debates on these subjects in mid-late 2015 indicate a tipping point, wherein interaction in virtual reality has begun to change behaviour and awareness on deeper levels. The Internet is breaking down and synthesizing demarcated experiences, whether between mind and body, between the genders, between the individual and the collective, or between the local and global. Perhaps hermeticism and gnosticism are the most durable ideas available in western culture to describe flexible identification, as individuals find themselves simultaneously immersed in virtual reality and 'real' reality.

China's One Belt, One Road Initiative (2015). Image Source: Roman Wilhelm/MERICS/The Diplomat.

One may ask how spiritual issues pertain to hard reality. Why does the New Age Internet matter, when China is building naval bases in the South China Sea, the Red Sea, and on the west coast of Africa? These online trends matter because societies rise and fall according to their adaptability when confronted with jumps in technology, social changes, and ensuing geopolitical conflicts. World War III, when (or if) it arrives, and everything that leads up to it, will depend on global connectivity. How our brains respond to connectivity and the ideas we discover or rediscover through that response may be essential to cultural resourcefulness and survival.

To ask these questions about western values now is akin to asking how the introduction of the printing press in Germany (1439-1440) led to the Protestant Reformation (1517-1617) and the Thirty Years' War (1618-1648). The spiritual and moral outlook of a society is indexed to its level of technology and prosperity. When the latter two factors change, so does the former. Anomie and aporia, experienced then as now, will lead to experiments to develop values better suited to new ways of living. But that process emerges through trial and error. Societies sometimes depend on war to determine a new dominant narrative.

My treatment of these topics comes with a caveat. While I may comment on unusual online material here, I do not personally identify with evidence I uncover. Hermetic traditions and politics can be weird, occult, radical, fringe or extremist. My comments in this series of blog posts do not constitute my endorsement of these beliefs. They are presented here as part of an examination of the cultural historical impact of the Internet on western values, under increasingly universalized, yet decentralized and chaotic conditions. I also do not personally agree with conspiracy theories mentioned here, but rather regard them as signs of contemporary mentalities.

Saturday, June 13, 2015

The New Age of William Butler Yeats


W. B. Yeats by John Singer Sargent.

Today is the sesquicentennial 150th anniversary of the birth of the great Irish poet, William Butler Yeats (1865-1939). Many modern poets have captured the spirit of our times. But Yeats stands out as a Romantic Modernist whose work most clearly described the great transition of our times, from one age to another. In his works, he depicted periods of time as sharply-dermarcated sections of human experience during which certain symbolic, spiritual, moral, occult or magical ideas gained total dominance. Thus the passage of time and the turn of ages was imagined by the poet as a violent, ongoing battle between contending philosophies and ways of being. Yeats equated the passage of time with millennia-long developments in collective human psychology. To understand how and why Yeats depicted the current Millennial transition so rarely and perfectly, we need to travel backward through his life, from the end of his days when his visions of the future were most pronounced, to the influences of his early childhood (Thanks to -C.).

Sunday, June 22, 2014

Love and the Underworld



Years ago, I attended a high school of the arts and studied Visual Arts. One day, our teacher presented the unruly, noisy class with Jan van Eyck's The Arnolfini Portrait (1434). "Shut up and look at it!" he yelled, "What do you see?" The portrait depicts a couple getting married. But the more you look at the painting of this happy day in Bruges, the more it appears that something is very wrong. What, for example, is that little horned and hoofed gremlin thing sitting right over the wife's right wrist? Or the animal - a cat? - below her wrist?

The man, Giovanni Arnolfini, was thought to be holding the hand of his second Flemish wife, Giovanna (Jeanne) Cenami. Arnolfini is holding his wife's hand with his left hand, suggesting that this was a morganatic marriage and she was of lower social rank. Image Source: Wiki. The painting is in the National Gallery, London.

"She's pregnant." someone said. "Yeah." our teacher said, "What else?" I remember that we spent some time discussing it and could not find an answer. The portrait is full of messages, all pointing to something cryptic. The wedding to a pregnant bride makes no sense, since at that time, for people of this class, a woman would fall visibly pregnant well after marriage. Why would a respectable, wealthy businessman pay the artist to depict him and his wife in a shotgun wedding? And who gets married in their bedroom? Even more oddly, Arnolfini died without an heir.

Image Source: Art Chronicler.

Indeed, the portrait is screaming something at the viewer; but van Eyck (1390-1441) hid its message in plain sight. This is because when we see a couple in love, we project all kinds of expectations and stories onto their united image. We expect the symbols - a mix of secular and religious ideas - to add up to a message about love. But here, they do. And they don't.
  • The shoes are symbols of the soul.
  • The man's shoes are outdoor shoes. The woman's shoes are indoor shoes.
  • The toes of the man's shoes point outdoors and out of the picture. The heels of the woman's shoes point into the picture, at the couple.
  • The woman's presumably bare feet are symbols of fertility
  • The composition divides the picture down the middle between the couple.
  • The dog further divides the couple and is thought by some to represent fidelity or sexual tension.
  • The writing on the wall, a signature of the artist, states, "Jan Van Eyck was here, 1434."
  • The mirror shows the painting inside the painting, creating a nested view. There are several views: the viewer looking at the painting (crossing the 4th wall of the onlooker, i.e. our world); the original real world view of van Eyck as he painted the picture (4th wall of the artist, outside the world created by the painting); the conventional portrait (the basic happy picture as presented looking forward, the apparent reality of the wedding depicted inside the painting); the view of the portrait from inside the mirror (a darker view, looking backward through the scene, observed from inside the painting), which is also a self-portrait of the artist. The symbols add additional layers of reality to the picture.
  • The mirror shows two figures you can't otherwise see, who are facing the couple. One is the artist - and one is someone or something else dressed in red, peeking over the artist's shoulder.
  • The couple are taking their oath before the artist and another figure, not a minister.
Close-up of the mirror. Image Source: Kenney Mencher.

Portraiture is a genre of painting that creates expectations from viewers. Even from van Eyck's time, the late Middle Ages on the cusp of the Renaissance, the painting already has conveyed a modern message of realism. For example, the fact that the lady is shown as pregnant in a wedding composition is considered very modern, a step away from the idealized medieval images. Some art historians have argued that she is not pregnant and it is merely the style of her dress, but that seems counter-intuitive.

Many websites on the Internet attempt to decode this masterpiece. My friend, C., brought up this portrait again recently because he saw a BBC video about it. I remembered that class where we walked away without an answer. And now, thanks to an art historian, this painting may be solved. Because the wife in this portrait is not only pregnant - she is also dead.

Sunday, September 15, 2013

A Year in the Life of a Tree



The Denver Post reports on a man who photographed a Bur Oak every day for one year and posted the photos on Facebook; he started on 24 March 2012. His experience showed that the simple act of slowing down and carefully looking at one other living thing can change one's whole perception of the world:
There is a tree that stands alone among the cornfields - about 5 miles south of Platteville, Wisconsin in the southwest corner of the state. Photographer Mark Hirsch drove by it almost every day for 19 years and never once stopped to take a picture. Then one day, he did. ...
“It was never easy and it never came naturally,” writes Hirsch. “But when I found that scene, situation or moment that made me comfortable that I had made a worthy picture for the day, it was incredibly rewarding personally. At some point, I really began to appreciate the contemplative nature of my visits to that tree.”
At first mention, a year in the life of a tree might not immediately sound interesting, visually or otherwise. Hirsch’s pictures, however, uncover a complex web of life and color surrounding the tree.
“I would describe that Tree as I would a friend,” writes Hirsch. “My initial description a year ago would have been as simple as a tree in a corn field, but now I would describe it as a tree of life in its own realm.”
“I was never very good at slowing down but I am now. I’ve learned to see things differently. And I’ve embraced an incredible appreciation for the land in and around that tree.”
By the 365th day, the project had become so renowned on Facebook that "on March 23, 2013, Hirsch took the last official pictures of the project ... [and a]lmost 300 people (and 12 dogs) showed up for a group photo under the branches of that tree [below]. Some devoted fans even drove in from Milwaukee, Chicago and northern Minnesota to be in the picture." See some of the photos below the jump, more or less in chronological order from spring 2012 to spring 2013 (they are taken from the Denver Post report or from Facebook); and the Facebook page with the full album here. Hirsch also published his photos in a book. All photos are © Mark Hirsch and are reproduced here under Fair Use for non-commercial review and discussion.

Group photo (23 March 2013), last day of the project.

Monday, October 22, 2012

Countdown to Hallowe'en 10: Horror's Skeleton Key

The Tarot's trumps, or Major Arcana, mapped onto a Kabbalistic Tree of Life. Image Source: Tarot Hermeneutics. (Click on the image to enlarge.)

Behind the tropes and clichés, what is horror? What purpose do horror stories serve? Horror reveals impulses in ourselves which we fear and do not understand, such as the savage motives behind murder. For example: 2006's Black Dahlia (directed by Brian De Palma) was based on the 1947 unsolved murder of Elizabeth Short, and was disturbing enough that writer James Ellroy (who famously wrote a quartet of novels about post-war L.A., and included the Dahlia case for his own reasonsnow asserts that he will never again publicly discuss Short (see my blog post on this case, here); or the original Texas Chainsaw Massacre (1974; based on the 1950s' Ed Gein case in Wisconsin, see it below); or Henry, Portrait of a Serial Killer (1986; see it here; based on real life killers Henry Lee Lucas and Ottis Toole). In a week when the LAPD is reopening the Manson Family case to investigate 12 additional murders, the headlines remind us that reality is worse than any horror drama.

Horror additionally asks us to challenge what we understand to be real and then reaffirm it, according to our common values. A Catholic review from Jake Martin of a fictional account of a boy who kills his classmates, We Need to Talk about Kevin (2011), confirms this point:
the film is not "yet another installment in the pantheon of post-modern films intent upon assaulting the human desire to give meaning to the world." Instead, ... [Martin] says, We Need to Talk about Kevin in fact needs to be talked about, as what it is attempting to do by marrying the darkest, most nihilistic components of contemporary cinema with a redemptive message is groundbreaking."
In a third and related sense, some horror stories are actually morality tales. They show the path the protagonists must take out of darkness, once a violent act has ripped apart everything that makes reality sensible. This severe trope is often used by director David Lynch, whose forays into surreal horror involve a return back to a good piece of cherry pie and a great cup of coffee. Lynch will take his audiences to the edge and well beyond it, but he always insists on the final reassertion of sanity over insanity.

Friday, December 10, 2010

Do Animals Sense Death?

Münster Zoo: The grieving gorilla Gana carried her dead baby on her back for several days. 2008 reports here and here.  Gana died in January of 2010.

In yesterday's post, I touched on the commonly-held assumption that one of the things long considered to separate humans from animals is our awareness of death.  This goes right back to the Book of Genesis, when Adam and Eve eat the fruit of the Tree of Knowledge of Good and Evil; they gain insight that makes them see things in the way God does.  Yet they lack God's wisdom and judgment, possibly due to the fact that they did not also eat of the fruit of the Tree of Life, the other tree in the Garden of Eden.  As a result, animals come to fear humans, whereas at the beginning of Genesis, Adam names the animals, which suggests his initial ability to communicate with them (to read the text, go here).  In 2001: A Space Odyssey, Stanley Kubrick symbolically repeated that moment from a non-religious point of view when he showed apes making a jump in consciousness and killing tapirs with which they had previously lived peacefully.  This was shortly followed by the now-conscious apes murdering each other while wielding tools to do so, with the tool-making the key sign of awareness of causality.  Kubrick used an extra-terrestrial monolithic symbol as a catalyst for that jump in self-awareness.