aenima- problem 8

[frater H]

aenima
the suit of coins (from tarot)
the cards of this suit correspond tpo the final letter to the material world of objective forms and the element earth. as the things of this lowest of the 4 qabalistic worlds have money value, coins represent tha value, as diamands due in a norml deck of cards.
in esoteric tarot this suit is named pentacles, from the circular wax or metal plate, engeraved with the sigils and names used in an operation of ceremnial magic.
in the Knapp tarot each card of the coins suit bears a cube , the pythagorean symbol of the material world.
the ace of coins on the small cube is a double vesica pisces, which also resembles the mathematical symbol of infinity and rythmic whirling motion , the horizontal figure 8.
this refers to the qabalistic idea that physical form is result of a series of whirling motions originating in the primal will- an idea practically the same as that to which modern physicisys have been led by their investigations into constistutionof matter.
the connection of the ace of copins with the hebrew ideas relating to devine number 1 is shown by the crown over the upper point of radiant energy.
of this motion the pentagram itself is anoter symbol, and its employment in various magical operations is based upon mathematical formulas directly connected tto the figure itself,, which formulas lead to mental control of currents of the astrral light.

title
root powers of earth
meaning
power of will S EXPRESSED ON THE PHYSICAL PLANE. MATERIALITY ALL ITS PHASES, WHETHER GOOD OR EVIL. the power of the world illusion, material gain wealth. contentment, and the things, conditions,works and so on which contribute to such gain(hooker with )

keyword materiality
(from oracle of tarot-acourse on tarot divijnation by paul foster case)
the dragon whose number is 666 themale half 333 shugal the howler in the desert of set, the female choronzon 333 or typhon the prototyope of babalon the sc arlet women.
one of the meanings of the goetia is howling which suggests that ancient grimoires were primitive records of mans attempt to rend the veil of the abyss and explore the other sdei of the tree. the elaboreate codifications of demons and theur sigils and rites accompanyonf their parallel use to te orthodox magical workings used in connection with the front side.
this would explain the need o for secrecy and frequent use of sacred names which veiled the sorcers true intention.
ae waite in his introduction to the book of cerominial magic speaks od the more orthodox phases as aspects ogft the secret traditopn as it has declared itself on the side of god. he then declares that there ids atraditopn a rebours. he further notes as there is a height of kether in kabalism so there is a abys which is below malkuth ..
he does not say that the abyss below malkuth is accessible to man ponly through the gate of daath. but he writes :
as there is a door in the soul whoch opens to god so is there another dooe that opens tp recremental deeps and there is no doubt that the deeps that the deeps come in when its opend effectually .
it will be noticed that waite destinguisshes between thae deepsogf the power of the abyss
:there is a black and whoite art ascience of the height and a science of the abyss, of metatron and belial.
it is my intenton to show that thw height and depth:the 8th and the tepth are identical beneath the image of the beast, whose 8th head is the door of the abyss.
it is significant that the embodiment of human consciousness i.e. man is in hebrew , adam, meaning red erath or clay, a symbol of blood cogealed as flesh the word adam derives from the egyotian atum, tha setting sun the blood red dying sun sinking into amenta , the hidden land(hell).
from the moment of its incarnation , human consciousness begins its journey(initiation to amanta. thus the beginning is in malkuth erh and the end is in daath air or space.
the beast and the woman in union is a formulaof the androgynous baphomet(8) which was epresented by the head of a ass.
this creature was a typhonian symbol of te backwrds way passege , or tunnel an apropriate glyphof the abyss, the gateway to which was daath.the symbol of the qlipoth of yesod us the obscene ass which inturn is symbolic of astral concioussness symbolised bywater(blood) the element of the scarlet women.

the 7 heads thaty culminate in th8 the are cosmic power zones plus daath the place purgatian or porartion for the ultimate experience typified by the supernal triad us making the eleven centres in all.
in the symbolical representation of the fall the heads of the dragon bear the names of the 8 edomite kings and their horns the names of the 11 dukes, and because in daath was the utmost rise of the great serpent of evil therefore it is as it were another sephgira making 8heads according to the nimber of the 8 kings , and for the infernal and aberse sephiroth 11 insteasd of 10 according to the 11 dukes of edom.
in the human body the 8 powerzones form the magnetic cross shown in a diagram in cults of the shadow and in a system as widely divergent as the taoist, we find han shan expatiating on these 8 consciousnesses.
it is when we have made this leap across the abyss and only then that we know that we are not at that monet we realze that we are void, that void is subjectivity and that subjectivity is us , not us as individual selves but as all sentient beings, not as sentient being but as such.
that is the negative way that is why must know that we sre not that we may undestand what manner we can be.
the vivifying of these 8 centres by action of the fire serpent is the aim of all esoteric systems,magical and mystical attainment.not until the fire snake has been brought to the height, the 8th power zone, may the leap be successfelly undertaken.
the peculiar nature of this leap has been hionted at in writings of the ancients yetthe clue has almost entirly been overlooked by mos exponents of thye mysteries. to understand how this key operates it is nescessarry to undestand the nature of the banishment of man from the garden of eden.

taken from the nightside of eden kenneth grant

[frater H]

hand and eye
the hand and the eye combined are symbolism of the abyss the ape of thoth the phalus of set and the eye of babylon the ain of the abyss .
the double veil reveal s a mystery of the double horizon (horus)and the ;lord of the double wand in egypt.
in jewish mysticism , paroketh or parakah was the veil that devided the temple.its number was 305, that of yetsirah the world of formstion.(3.04 parobol )
the world of formation and te veil of the abyss devides the world of emanations from the world of creation, so the veil of paroketh devides the world of creation,from teh world of formation the veil of the abyss concesals daath, and the veil of paroketh obscures yesod these two power zones generate the glamour and illusion that constitute the world of appearances.
the veal that cpnceals the dragon of the abyss devides the triad of the supernals the vehicle of ain, from the inferior seven power zones wehich are the vehicles of zain the dual power of twins set horus negative positive hoor paarkraat and ra hoor huit. further the sword is a symbol of ythe dove whose glyph is yoni and as massey observes the y both unite in one name, because of there origin in great magic power oor secret eye one of the symbols of this power combines in one image both the sword and the tail of the dove.
the dove was an image of typhon long ages before b it was asociated with the virgin or veild one of later traditions.
it is the great seal of the oto . the chalice bears the x, the ten or total. one form of tghe total is the tenfold cross of th treeof life, but is the the 11 fold cross identified by crowley as octinomos or the eight fold name bathomet.( as above so below)the ancient head aored by the knights templars.
daath is the 11th power zone and the elevenfold cross denotes the crossing of the abyss though not as crowley saw the event as is described in one star in sight, but rather crossing from one side of the tree to the other-the tree of death this is confirmed by the name bathomet , the root is mete, 1 and 7i.e 8(set), with all wealth of symbolism implied by the formula of hoor paar kraat, the hidden god.
taken from nightside of eden.
hil hine- walking between worlds

[frater H]

blair mentioned that when they were working on aenima they started working out a plan for the ultimate hidden track.

if you look at aenima take the 15 tracks and devide them emding up with tracks 1-7 on one side and tracks 9-15 on the other this leaves track 8 in the middel

pn aenima track 8 is called intermission(this has to do with daath the 11th sephirah)
but this formula of deviding the album in two or three which ever way you see it
works on lateralus as well.


on lateralus it was track 7 parabola which seems simialar to the problem 8 reiman hypoyhesis he was talking about.

on 10 000 days if you devide the album in half you get track 6 lipan conjuring and is 1.11 in duration.on 10 000 days it was diffrent the tracks were arranged according to the tree of life
but what seems odd is that th track is 8 on aenima that is the middel and symbol of the album(daath)

so this goes in a decending order 876 is the next albums going to be 5?

this does seem a liitle bit too strange to be a coincedence so what is the reiman hypothesis going to be?

[frater H]

so it seems that the next album will be the last one which if you look at my theory there would be 4 albums from aenima to the last one. this is the same amount of letters in the name of god the 4 worlds atziluth briah yetsirah and assiah yod he vav he fire water airv earth

the cards of this suit correspond tpo the final letter to the material world of objective forms and the element earth (ASSIAH). as the things of this lowest of the 4 qabalistic worlds have money value, coins represent tha value, as diamands due in a norml deck of cards.

in jewish mysticism , paroketh or parakah was the veil that devided the temple.its number was 305, that of yetsirah the world of formstion.(3.04 parobol )
10 000 days must then be water briah and the next album would be fire atziluth

forming the name of god
YHVH
THE GREAT WORK

[frater H]

track 1 - stink fist track5.11
5+11 = 16 the 16th card of th tarot is the tower wit the letter peh meaning mouth
the force of nature reastablishing truth distorted by men.
The Tower further symbolizes that moment in trance in which the mind actually changes the direction of the force of attention from alpha condition (pointed mindward) to theta condition (pointed imaginal stageward). A Theta condition (especially in waking versions of theta states) is that moment when information coming into the ego-mind overwhelms external or sensory stimuli, resulting in what might otherwise be called a "vision" or "hallucination."


track 2 - eulogy -duration 8.28 indicating 8 the 8th head of the dragon the abyss where the ego dies. the cross of the abyss(get off your fucking cross).

track 3 - h : 06.07 card 6 of th tarot is the lovers
card 6 zain meaning sword zodiac sighn reresents the mercurial sign of gemini
in the lovers card picture desigh it shows in initiate hesitating in parting of ways of the vice on his left and te virtue on his right.
to unite the male with th efemale or th inner with the outer you need to seperate from the ego.


track 4 - usefull idiot - 0.39 secs 1 short of 40
In political jargon, useful idiot is a pejorative term used to describe people perceived as propagandists for a cause whose goals they do not understand, who are used cynically by the leaders of the cause.
. Raditsa says: "In the Serbo-Croat language the communists have a phrase for true democrats who consent to collaborate with them for 'democracy.' It is Koristne Budale, or Useful Innocents." [9]. Although Raditsa translates the phrase as "Useful Innocents", the word budala (plural: budale) actually translates as "fool" and synonyms thereof.

track 5 - 46and 2 previus song ends where this song begins on 40 secs


track 06.02 40 of the previous song + 6.02 of this one(40-6-2)
The next step of evolution would likely result in human DNA being reorganized into 46 and 2 chromosomes, according to Melchizedek.
Furthermore, the song references a wish to experience change through the "shadow"; an idea which represents the parts of one's personality that one hates and fears, which also exists as a recurring theme in the work of Carl Jung.[5]

track 6 - 1.53 1+5+3=9
the 9th card of the tarot is the hermit when using this card for divination thequerant might suffer from misunderstanding and isolation, may expect active oposition from superiors or infreriors

track 7 - hooker with a penis probably inspired by a sucare cazzi su un aereo! (Die, piece of shit, and go suck dicks on a plane) either 4+3+3=11/04.33-40 +33=37
gives the number of the rythmic element in th lyrics rhat start the song
I MET A BOY (4) WEA-RING VANS (3)5-O-1`S (3) 4.33


track 8 - the middle of the albums tarcks if you devide the 15 tracks youget 7 on the one side and seven on the other side of track 8
this explains why the track 8 is called intremision/ a pause between the two parts of the album.duration0.56secs 5+6 = 11 whicj indicates the 11 mentioned in the next track

track 9 - jimmy duration 5.24 5+2+4= 11
the twins horus and set


track10 - the balls of satan hitler only had one testicle and if you listen to the speeches of hiteler which he gave (i dont remember which one , but i bet you have already heard it if you have ever wtached a documentary of hitker or the nazis)
10 is an x in roman numerals the swastika is a x or cross
the 1o th tarot card is the wheel of fortune the ever changing wheel of life and ever remaing the same the circle of time and its 4 elements. the idea of a circle(in this case balls)
so theyre probably joking in away about how someone with one ball can cause yhat mch genocide you would think aperson who whould be capable of accomplishing that should have big balls nontheless a pair of them.
and the recipy is without eggs?....
the dUration is 2.17 2+1+7=10 (track 10) or 10TH sephhiroth

track 11 - is pushit that is clearly symbolised in th epicture of salival and is the crossing of the abyss the part at the end also resembles the experieans william westcot had with choronzon tearing at his throat.
duratio 9.55 (9+5+5=19) the 19th tarot card is the sun(black sun )
it is the symbol of manefestation of the tetragram, creative power fire of life.


track12 duration 1.2 6 -12
lacrymology

track 13 - aenima : -13 is 31 in its revers both of wich are vital to the phidian current. note also rising in the plane thriought the 3 power zones malkuth yseod and tiphareth, brings the focus of the power to daath, the vortex that sucks in negative cosmic energies that noiurish the tree. this is typical of the ego absorbing all like s sponge nd then is itself dissolved in ythe abyss. (kenneth grant nightside) duration 6.39( vortex symbolism 69 sighn and 3 in middel symbolizing : for vortex( suck it down)


0

0 0



track 14 - 4.00 ions


track 15 - third eye :13.47 ain, the invisible eye the pineal gland
(1+3 )= 4 + (4+7) = 11 (4 +11=15) track 15
3 calculations to equate 15

[frater H]

this seems to relate to the merkabah light body vehicle



Ezekiel's Wheel in St. John the Baptist Church in Kratovo, Macedonia. Fresco from XIX c.
See also: angelology
According to the verses in Ezekiel and its attendant commentaries, his vision consists of a chariot made of many heavenly beings driven by the "Likeness of a Man." Four beings form the basic structure of the chariot. These beings are called the "living creatures" (Hebrew חיות khayyot). The bodies of the creatures are "like that of a human being", but each of them has 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 cherub in Ezekiel 10:14) and an eagle.
Since there are four angels and each has four faces, there are a total of sixteen 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 "Ophanim" אופנים (lit. wheels, cycles or ways). These wheels are not directly under the chariot, but are nearby and along its perimeter.
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 sapphire.
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 descending. These "Seraphim" angels 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 "Ophanim."
The chariot is in a constant state of motion, and the energy behind this movement runs according to this hierarchy. The movement of the "Ophanim" is controlled by the "Living creatures" while the movement of the "Chayot" is controlled by the "Seraphim". The movement of all the angels of the chariot are controlled
by the "Likeness of a Man" on the Throne.




[edit]A Hasidic explanation

Hasidic philosophy explains that the 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.
Ophanim, 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 man/water, and the eagle/air.
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 Ophanim or ways.
In another example, the four Chayot represent spring, summer, winter and autumn/fall.[citation needed] These four types of weather are the archetypal forms. The Ophanim 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.
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 each other. 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.
[edit]Maaseh Merkabah




According to Samael Aun Weor, Arnold Krumm-Heller taught sexual magic without ejaculation.[10]
The crux of Samael Aun Weor's teachings is what he calls "white sexual magic", the paramount tenet of which is to conclude the act without orgasm or ejaculation from either the man or woman.[11] Thus, instead of the sexual energy being released in a spasm, this energy undergoes sexual transmutation via willpower and the sacrifice of desire.[12] According to Weor, the magnetic induction produced by crossing the active (phallus) and passive (uterus) creative organs causes lunar, solar and akashic currents to flow through the Brahmanic cord (the ida, pingala and sushumna nadis respectively) of the couple.[13][14] Weor says that this current then provides an active connection between the center at the root of the nose (the Ajna chakra) and the solar and lunar principles located within the seminal system at the muladhara chakra.[12] The transmuted energy, through willpower, is populated by what Weor says are "billions of christic atoms"[12] that when rising meet the pure akasa of the triune Brahmanic cord, igniting it, and through many years of work this causes the ascent of the kundalini through the thirty-three chambers or degrees of the spinal medulla.[12][15]
Weor says that along with the ascent of the kundalini, the crystallization of the "Solar Bodies" are formed due to the transmutation which occurs through white sexual magic.[16][17] Weor says that the solar bodies are the four aspects of the sacred merkabah of Arcanum Seven.[18] In sum, Weor describes the solar bodies as the christic vehicles of emotion, mind and will.[19]
Weor says that because sexuality is both a creator and destroyer, א la Shiva-Shakti, through sexual magic he indicates that one can eliminate any previously comprehended psychological defect.[13] In other words, Weor says that through sexual magic the radical removal of the egocentric vehicles can be achieved - which he says are the animalistic or inferior vehicles of emotion, mind, and will related to one's evolutive animal transmigrations prior to reaching the humanoid state.[20] Thus, through the death of the ego and the birth of the solar bodies, Weor states that one can be elevated to the angelic state and beyond.[21]
Weor also states that when the orgasm is reached the christic atoms are expelled and replaced, via genital orgasmic contraction, with what he believed were impure "atoms" of fornication.[22] When, through willpower the akashic current meets the "atoms of fornication", Weor said, that instead of rising the energy is rejected by the divine triad (atman-buddhi-manas) and is forced downward into the atomic infernos of the human being, forming the "tail of satan", (the kundabuffer, or negatively polarized kundalini). Weor says that the repetition of orgasm over time divorces the divine triad from the inferior "quaternary" (physical, vital, astral and mental bodies) through the severing of the antakarana. This brings about, according to Weor, "the fallen Bodhisattva", "the Fall of Lucifer" as described by the author Dante, or what amounts to the same thing: the Fall of Man. Weor refers to any type of sexual magic that uses the orgasm for spiritual or magical purposes as "black sexual magic", and he believed that those who perform it are black magicians who acquire negative powers.[12][14]
[edit]See also

[frater H]

blair mentioned that when they were working on aenima they started working out a plan for the ultimate hidden track.

if you look at aenima take the 15 tracks and devide them emding up with tracks 1-7 on one side and tracks 9-15 on the other this leaves track 8 in the middel

pn aenima track 8 is called intermission(this has to do with daath the 11th sephirah)
but this formula of deviding the album in two or three which ever way you see it
works on lateralus as well.


on lateralus it was track 7 parabola which seems simialar to the problem 8 reiman hypoyhesis he was talking about.

on 10 000 days if you devide the album in half you get track 6 lipan conjuring and is 1.11 in duration.on 10 000 days it was diffrent the tracks were arranged according to the tree of life
but what seems odd is that th track is 8 on aenima that is the middel and symbol of the album(daath)

so this goes in a decending order 876 is the next albums going to be 5?

this does seem a liitle bit too strange to be a coincedence so what is the reiman hypothesis going to be?







so if this is the case the album would only have 5trcks on it , this seems a bit too short,

maybe this means that there will be more than one cd in the package,
looking at there discog the album woth most songs is lateralus 15

so maybe the next album will have 4 discs for the merkabah formula of yod he vav he

[frater H]

sorry made a nistake not 5 tracks but 9

[frater H]

or maybe not 4 discs but two , this seems a bit more logical .
it fits into the scheme of things, aenima having track 8 as the deving point, lateralus track 7, and 10k days track 6.
the whole horus set twin dual princple of oposite energies, light and dark.

[frater H]

mistake

stinkfist 5.11 - maat`s numeric value is 51
INTERMISSION TIME - 0.56 -THE NuMBER OF NUIT IS 11 AND 56 IS THE WORD

according to the book of te dead set is the child of nu the serpent also is her child.
she therefore who is 56 nu embodies the 5 and the 6 as dual polarities, and they denote the mode opf her magical worship.
set is the evil twin of horus.
the name aenema is a fusion of the horus aeon of aleister crowley and the maat aeon of nema.
this is probably indicates the passing of the aeon into the next one .
which was promoted by kenneth grant.

[frater H]

chapter 10 adumbrations of maat
nightside of eden

``in the magickal revival i drew atetion to simialarity between the situation that faced the ancient innitiates and that which confronts humanity today.
this situation is developing a massive though srill largley subconscious sensing of opresssive influence from outside, which as crowley has observed is finding expression in the nightmare fear of catastrophe against which webare yet half unwilling to take precautions.
inumaerable books have apeared that now are cosidered highly probable visitations of extraterrestrial entities``..

here he mentions the sirius mystery .

then he mentions;
the book of dzyan is probably the most complete transmissio we have concerning the mysteriws if pre humnan creation. and the book of thoth, in the form of e curious hieratic glyphs knoen as the tarot- resumes the practical means wherby this inteligence , and currents which it embodies , may be invoked and channelled by the adepts competent to direct the forces which it represents.
dion fortiunes cosmic doctrine claims to be another such body of no human transmission.
among comtemporary adepts , mcihael bertiaux of the black snake cult has transmitted and earthed a transmundane current in his grade paers pertaining to the monastary of seven rays .
and soror nema(margaret cook) in ohio is a focus of maat.
(jimmy-``under a dead ohio sky``)

[frater H]

the 5 and the 6 , 56 that is the word of nu is the key to the ark and the arch.
this is expressed qabalisticly in 5 times 6 = 30 of the gnostics which represents the sighn of ohm of the hindus, the word vibration of the not , the ain, the eye of the 7 (set).
further 5+6=11, is the number of magick of the change or tansformation because t is the number of nuit who says``my number is 11, as all it is the numbers who are of us``.

maat means rule measure length, and it represents a termination or a boundary between one region to another between edom and the realm of the otherside of the tree conversely between the end of the earth to the other side of the tree. daath is described as the interval
(track8 intermission)

[frater H]

also if you look at the glypg of set in nightside of den which is a snake in the shape of an eight,
with a sworld in the midell deviding what looks like the 11 symbol.(deviding the album in 2)
daath and maat symbolises the inbetweenness state of austin spare asosciated with the infenitesimal break in continuity of consciousness that permitted the influx of alien power.
crowley :
``if one assumes that the tarot is of egyptian origin then we may suppose that mat (this card being the card to the whole deck) really stands for maat, the vulture goddess, who is an earlier and more sublime modification of the idea of nuith isis.``
grant mentions that nuit is the noumenal void that is the substratum of reality.
in other words it is the emptieness that charecrizes the fool the mat or the mad one the holy one that is 1 in 8. tis 1 in 8 is daath or maath the mouth of the abyys.(beginning of album stinkfist) the hole in space that opens to th other side of the tree. thus the word fool dreives from follis, a wind bag a sigh of air.(useful idiot)
air derives from spirit
thus ideas such as fool, the vacuous one , the mouth the holy are all embodied in the image of maat.

[frater H]

thus the word fool dreives from follis, a wind bag a sigh of air.(useful idiot)
air derives from spirit
thus ideas such as fool, the vacuous one , the mouth the holy are all embodied in the image of maat.

sorry dont know how that idiot part got in there

[frater H]

okay i solved it but i wont spoil it for you, so you can follow this step by step and see if you can figure it out.
if you haven`t already.

[frater H]

to make it simple this φ and this 11 explains it all.

[frater H]

Adam

Michelangelo's The Creation of Adam, a fresco on the ceiling of the Sistine Chapel. Adam is the figure on the left, and God the figure on the right.
Adam (Hebrew: אָדָם‎, Arabic: آدم‎, Syriac: ܐܵܕ݂ܵܡ) is a figure in the Book of Genesis, the Quran and the Kitلb-i-حqلn. According to the creation myth[1] of Abrahamic religions, he is the first human. In the Genesis creation narratives, he was created by Yahweh-Elohim ("Yahweh-God", the god of Israel), though the term "adam" can refer to both the first individual person, as well as to the general creation of humankind. Christian churches differ on how they view Adam's subsequent behavior (often called the Fall of man), and to the consequences that those actions had on the rest of humanity. Christian and Jewish teachings sometimes hold Adam and Eve (the first woman) to a different level of responsibility for the Fall, though Islamic teaching holds both equally responsible. In addition, Islam holds that Adam was eventually forgiven, while Christianity holds that redemption occurred only later through the sacrifice of God's son, Jesus Christ. Bahل'ي Faith, Islam and some Christian denominations consider Adam to be the first Prophet.


"Adam" (Hebrew אָדָם comes from the trilateral root אָדַם ( 'ADM ), meaning "red", "fair", "handsome".[2] In the Book of Genesis, Adam occurs as a proper name in chapters 2-5. As a masculine noun, 'adam [3] means "man", "mankind" usually in a collective context as in humankind,[2] and may also refer to the individual human.[4] The noun 'adam is also the masculine form of the word adamah which means "ground" or "earth". It is related to the words: adom (red), admoni (ruddy), and dam (blood).[5]
[edit]Genesis narrative

In the first five chapters of Genesis the word אָדָם ( 'adam ) is used in all of its senses: collectively ("mankind"),[1:27] individually (a "man"),[2:7] gender nonspecific, ("man and woman")[5:1,2] and male.[2:23-24][6]
In Genesis 1:27 "adam" is used in the collective sense, whereby not only the individual Adam, but all humans, are created on the sixth day. The interplay between the individual "Adam" and the collective “humankind” is a main literary component to the events that occur in the Garden of Eden, the ambiguous meanings embedded throughout the moral, sexual, and spiritual terms of the narrative reflecting the complexity of the human condition.[7] Genesis 2:7 is the first verse where "Adam" takes on the sense of an individual man (the first man): the context of sex and gender, prior to these verses, is absent. The gender distinction of "adam" is then reiterated in Genesis 5:1-2 by defining "male and female".[8]
A recurring literary motif that occurs in Gen. 1-8, is the bond between Adam and the earth ("adamah"). Adam is made from the earth, and it is from this "adamah" that Adam gets his name. God's cursing of Adam also results in the earth being cursed,[3:17] and Adam returns to the earth from which he was taken.[3:19] This “earthly” aspect is a component of Adam’s identity, and Adam’s curse of estrangement from the earth seems to render humankind’s divided identity of being earthly yet separated from nature.[8:21][9]
[edit]Creation


And Elohim Created Adam
William Blake.
Main article: Genesis creation narrative
According to Genesis 1, God (Elohim) created human beings. "Male and female created He them; and blessed them, and called their name Adam..." (Genesis 5:2). Here "Adam" is a general term for "mankind" and refers to the whole of humankind. God blesses "mankind" to "be fruitful and multiply" and ordains that they should have "dominion" (but the exact meaning of the Hebrew is uncertain and disputed) "over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth" (Genesis 1.26-27).
In Genesis 2 God forms "Adam" (this time meaning a single male human) out of "the dust of the ground" and then "breathed into his nostrils the breath of life", causing him to "become a living soul" (Genesis 2:7). God then placed Adam in the Garden of Eden, giving him the commandment that "Of every tree of the garden thou mayest freely eat: But of the tree of the knowledge of good and evil, thou shalt not eat of it: for in the day that thou eatest thereof thou shalt surely die" (Genesis 2:16-17).
God then noted that "It is not good that the man should be alone" (Genesis 2:18). He then brought every "beast of the field and every fowl of the air" (Genesis 2:19) before Adam and had Adam name all the animals. However, among all the animals, there was not found "a helper suitable for" Adam (Genesis 2:20), so God caused "a deep sleep to fall upon Adam" and took one of his ribs, and from that rib, formed a woman (Genesis 2:21-22), subsequently named Eve.

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[edit]Fall of Man
Adam and Eve were subsequently expelled from the Garden of Eden, were ceremonially separated from God, and lost their innocence after they broke God's law about not eating of the fruit of the tree of the knowledge of good and evil. This occurred after the serpent (understood to be Satan in many Christian traditions) told Eve that eating of the tree would result not in death, but in Adam and Eve's eyes being opened, resulting in their being "as gods, knowing good and evil" (Gen. 3.4-5). Convinced by the serpent's argument, Eve eats of the tree and has Adam do likewise (Gen. 3.6).
As a result, both immediately become aware of the fact that they are naked, and thus cover themselves with garments made of fig leaves (Gen. 3.7). Then, finding God walking in the Garden of Eden, Adam and Eve hide themselves from God's presence (Gen. 3.8). God calls to Adam "Where art thou?" (Gen. 3.9, KJV) and Adam responds "I heard thy voice in the garden, and I was afraid, because I was naked; and I hid myself" (Gen. 3.10, KJV). When God then asks Adam if he had eaten of the tree of the knowledge of good and evil, Adam responds that his wife had told him to (Gen. 3.11-12).

As a result of their breaking God's law, the couple were removed from the garden (Gen. 3.23) (the Fall of Man according to Christian doctrine) and both receive a curse. Adam's curse is contained in Gen. 3.17-19: "Because thou hast hearkened unto the voice of thy wife, and hast eaten of the tree, of which I commanded thee, saying, Thou shalt not eat of it: cursed is the ground for thy sake; in sorrow shalt thou eat of it all the days of thy life; Thorns also and thistles shall it bring forth to thee; and thou shalt eat the herb of the field: In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return" (KJV).

[edit]Post-expulsion
After his expulsion from Eden, Adam was forced to work hard for his food for the first time. According to the Book of Genesis, he had three male children with Eve named Cain, Abel, and Seth. The Book of Jubilees, a second century BC text which is not considered canonical by most Abrahamic faiths, states that Adam also had two daughters, Azura and Awan, who married Seth and Cain, respectively, in incestuous unions.

According to the Genealogies of Genesis, Adam died at the age of 930. With such numbers, calculations such as those of Archbishop Ussher would suggest that Adam would have died only about 127 years before the birth of Noah, nine generations after Adam. In other words, Adam's lifespan would have overlapped that of Lamech (father of Noah), at least fifty years. Ussher and a group of theologians and scholars in 1630 performed calculations and created a study that reported the creation of Adam on October 23, 4004 BC at 9:00 am and lived until 3074 BC. There was controversy over the fact that Ussher believed the whole creation process occurred on that day.
[edit]Religious views

[edit]Jewish traditions
Main article: Adam in rabbinic literature
In rabbinic writings and the Dead Sea Scrolls, Adam is a perfect human before his exile from Eden, but is diminished in stature when exiled.[9] A traditional Jewish belief is that after Adam died, he was buried in the Cave of Machpelah in Hebron. The Book of Joshua mentions a "City of Adam" at the time that the Israelites crossed the Jordan River on entering Canaan, but doesn't suggest any relationship between this city and the "first man" of Genesis.
According to some Jewish mystical traditions, the original glory of Adam can be regained through mystical contemplation of God.[9]

In Jewish folklore, Lilith is the name of Adam's first wife, who was created at the same time and from the same earth as Adam. She left Adam after she refused to become subservient to Adam and then would not return to the Garden of Eden after she mated with archangel Samael.[10] Her story was greatly developed, during the Middle Ages, in the tradition of Aggadic midrashim, the Zohar and Jewish mysticism.[11] The resulting Lilith legend is still commonly used as source material in modern culture, literature, occultism, fantasy and horror.

[edit]Christian traditions
[edit]Early Christian views
In Augustine’s reinterpretation of Pauline theology, Adam’s sin is transmitted by sexual relations (specifically by semen) to each descending generation. This contrasts with Christ who was conceived without sin through Mary's virginal conception of Jesus.[9]

[edit]Jehovah's Witnesses
Jehovah's Witnesses view Adam and Eve as the ones who brought sin, and thus death, into the world by committing the original sin, by disobeying Jehovah's clear command not to eat of the fruit of knowledge of good and evil.
Eve's sin is counted as deliberate disobedience, as she did know that Jehovah had commanded them not to eat, but she is held to have been deceived by the Serpent. (She was deceived only about the effect of their disobedience, not about the will of God on the matter.) Adam's sin is considered even more reproachable, as he had not been deceived. Rather, when confronted with his sin, he attempted to blame both his wife Eve, and Jehovah himself. Genesis 3:12 NWT - "The woman who you gave to be with me, she gave me fruit from the tree and so I ate.".[12] By his sin, he forfeited human perfection and was therefore unable to pass it on to his offspring.

[edit]Latter Day Saints
Main article: Adam and Eve (LDS Church)

The Latter Day Saint movement holds that Adam and Michael the archangel are the same individual.[13] Michael the archangel fought against and cast out Lucifer (who became Satan) and his followers at the conclusion of the War of Heaven during the pre-mortal existence (see Book of Revelation 12:7-9). Michael was born into this mortal existence as the man "Adam, the father of all, the prince of all, the Ancient of Days" (see Doctrine and Covenants 27:11 and 107:54). Mormons also consider Adam to be the first among all the prophets on earth. Brigham Young and other early leaders spoke favorably about the Adam–God theory, the idea that Adam and God the Father were the same person, but it did not become church doctrine and has since been repudiated by the church.
The Latter Day Saints hold the belief that the "Fall" was not a tragedy, but a necessary part of God's plan. They believe that Adam and Eve had to partake of the forbidden fruit in order to fulfill God's will, and that it is good that they did so.[14]
[edit]Seventh-day Adventists
Seventh-day Adventist believe that the importance of the literal creation time-line is pivotal to the story of humanity, their relationship to God, and the plan of salvation and atonement for Adam and Eve’s transgression (fall), by which all their descendants are under subjugation. The Bible states, “Since by man (Adam) came death, by man (Jesus the Christ) came also the resurrection... (I Cor. 15:21).” To disavow a literal creation and our first parents (Adam and Eve) nearly 6,000 years ago negates a fundamental, orthodox doctrine and the supremacy of the Holy Bible that the sovereign, triune God --“Let Us make man in Our image, according to Our likeness; and let them rule over the fish of the sea and over the birds of the sky and over the cattle and over all the earth, and over every creeping thing that creeps on the earth,” (Genesis 1:26 NASB)—according to His own purpose and counsel and for His own glory, created humanity in the Biblical/Torah account.[15]
[edit]Islamic view
In Islam, Adam (Adem; Arabic: آدم) is believed to have been the first human being and the first prophet. Adam's role as the father of the human race is looked upon by Muslims with reverence, who also venerate his wife, Eve, as the "mother of mankind".[16] Muslims see Adam as the first Muslim, as the Qur'an promulgates that all the prophets preached the same faith of submission to God.[17] According to Hadith, Abu Huraira reports Muhammad as having said, "God created Adam, making him 60 cubits tall" and, "Any person who will enter Paradise will resemble Adam (in appearance and figure). People have been decreasing in stature since Adam's creation."[18]
[edit]Bahل'ي view

In the Bahل'ي view, Adam was the first Manifestation of God in recorded history.[19] He is believed by Bahل'يs to have started the Adamic cycle 6000 years ago, which has culminated with Bahل'u'llلh.[20][21] The Biblical story of Adam and Eve, according to Bahل'ي belief, is allegorical and is explained by `Abdu'l-Bahل in Some Answered Questions.[21]

[edit]Druze belief
In the Druze religion, Adam and Eve are seen as dualistic cosmic forces and are complementary to one another. Adam represents the universal mind and Eve, the universal soul.[22]
http://en.wikipedia.org/wiki/Adam_(Bible)

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Adam and Eve
From Wikipedia, the free encyclopedia
For other uses, see Adam and Eve (disambiguation).


Adam and Eve by Lucas Cranach the Elder.
Adam (Hebrew: אָדָם‎, ʼĀḏām, "dust; man; mankind"; Arabic: آدم‎, ʼĀdam) and Eve (Hebrew: חַוָּה‎, Arabic: حواء‎, Ḥawwā, "living one") were the first man and woman according to the Genesis creation narrative.




Adam and Eve expelled from Eden, detail of a Baroque pulpit.
[edit]Genesis 1
God creates the universe in seven days, reserving for his sixth-day labor the climax of creation: man and woman. On the seventh day God rests and so establishes the holiness of the Sabbath.
[edit]Genesis 2
God fashions a man (Heb. adam, "man" or "mankind") from the dust (Heb. adamah) and blows the breath of life into his nostrils, then plants a garden (the Garden of Eden) and causes to grow in the middle of the garden the Tree of Knowledge of Good and Evil and the Tree of Life. God sets the man in the garden "to work it and watch over it," permitting him to eat from all the trees in the garden except the Tree of Knowledge, "for on the day you eat of it you shall surely die." God brings the animals to the man for him to name. None of them are found to be a suitable companion for the man, so God causes the man to sleep and creates a woman from a part of his body (English-language tradition describes the part as a rib, but the Hebrew word tsela, from which this interpretation is derived, has multiple meanings; see the Textual Note, below). Describing her as "bone of my bones, flesh of my flesh," the man calls his new help-mate "woman" (Heb. ishshah), "for this one was taken from a man" (Heb. ish). This sundering, a making of two from one, predicates reunification in marriage, in which two will be made one: "On account of this a man leaves his father and his mother and clings to his woman." The chapter ends by establishing the state of primeval innocence, noting that the man and woman were naked and not ashamed, and so provides the departure point for the subsequent narrative in which wisdom is gained through disobedience at severe cost.

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[edit]Genesis 3
The Serpent, "slyer than every beast of the field," tempts the woman to eat from the Tree of Knowledge, telling her that it will make her more like God and it will not lead to death. After some thought about the fruit's beauty and succulence, and its ability to grant wisdom, the woman decides to eat it. She then gives the fruit to the man, who eats also, "and the eyes of the two of them were opened." Aware now of their nakedness, they make coverings of fig leaves and hide from the sight of God. God asks them what they have done, and man and woman defer responsibility. The man blames the woman for giving him the fruit, but implies a sentiment that God is also at fault for making the woman in the first place ("The woman Thou gavest to be with me, she gave me the fruit of the tree, and I ate"), while the woman blames the serpent for seducing her to disobedience ("The serpent beguiled me and I ate"). God curses the Serpent "above all animals," causing it to lose its legs and to become an eternal enemy of the human race. God then passes judgment for the disobedience of the man and woman, condemning the man to sustain life through hard labor and the woman to create new life through painful childbirth, and banishes them from the garden. The woman is given the name Eve (Heb. hawwah) "because she was the mother of all living [Heb. hay]," and Adam receives his name when the text drops the definite article from the word for "the man," changing "ha-adam" to "Adam". Eve/woman is also established as subordinate to Adam/man, ending utopian unity between the sexes. God then posts 2 cherubs, with flaming swords, at the entrance to the Garden of Eden in order to block the way to the Tree of Life, "lest he put out his hand ... and eat, and live forever."
[edit]Genesis 4 and 5
Genesis 4 tells of the birth of Cain and Abel, Adam & Eve's first children, while Genesis 5 gives Adam's genealogy past that. Adam & Eve are listed as having three children named Cain, Abel and Seth, then "other sons and daughters" (Genesis 5:4, NIV). Adam lived for 930 years.

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Original sin
From Wikipedia, the free encyclopedia
(Redirected from Original Sin)


Michelangelo's painting of the sin of Adam and Eve from the Sistine Chapel ceiling
For other uses, see Original Sin (disambiguation).
Original sin[1] is, according to a Christian theological doctrine, humanity's state of sin resulting from the Fall of Man.[2] This condition has been characterized in many ways, ranging from something as insignificant as a slight deficiency, or a tendency toward sin yet without collective guilt, referred to as a "sin nature", to something as drastic as total depravity or automatic guilt of all humans through collective guilt.[3]
The doctrine is not found in Judaism[4] or in Islam.[5][6] Its scriptural foundation is in the New Testament teaching of Paul the Apostle(Romans 5:12-21 and 1 Corinthians 15:22).[2] It began to be developed by the 2nd-century Bishop of Lyon Irenaeus in his controversy with the dualist Gnostics.
In the theology of the Catholic Church, original sin is regarded as the general condition of sinfulness, that is (the absence of holiness and perfect charity) into which humans are born, distinct from the actual sins that a person commits. This teaching explicitly states that "original sin does not have the character of a personal fault in any of Adam's descendants".[7] In other words, human beings do not bear any "original guilt" from Adam's particular sin, which is his alone. The prevailing view, also held in Eastern Orthodoxy, is that human beings bear no guilt for the sin of Adam.
Orthodoxy prefers using the term "ancestral sin",[8][9] which indicates that "original sin is hereditary. It did not remain only Adam and Eve's. As life passes from them to all of their descendants, so does original sin "[10] In this quotation, "original sin" is used not of the personal sin of Adam, which is his alone and is not transmitted, but in reference to the "distortion of the nature of man", which is inherited.
An important exposition of the belief of Eastern Christians identifies original sin as physical and spiritual death, the spiritual death being the loss of "the grace of God, which quickened (the soul) with the higher and spiritual life".[11] Others see original sin also as the cause of actual sins although, in this view, original and actual sin may be difficult to distinguish.[12]
http://en.wikipedia.org/wiki/Original_Sin

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Adam–God doctrine
From Wikipedia, the free encyclopedia
(Redirected from Adam-God theory)
The Adam–God doctrine (or Adam–God theory) was the most prominent of several theological doctrines taught in mid-19th century Mormonism by Brigham Young and is part of the modern theology of some forms of Mormon fundamentalism. According to Young, he was taught by Joseph Smith[citation needed] that: Adam is "our Father and our God, and the only God with whom we have to do".[1]
According to the doctrine, Adam was once a mortal man who became resurrected and exalted. From another planet, Adam brought Eve, one of his wives, with him to the earth, where they became mortal by eating the fruit of the Garden of Eden. After bearing mortal children and establishing the human race, they returned to their heavenly thrones where Adam serves as the god of this world. Later, as Young is generally understood to have taught, Adam returned to the earth to become the literal father of Jesus.
During the life of Brigham Young, elements of the Adam–God doctrine were taught in LDS church meetings, sung in church hymns, and featured as part of the church's Endowment ceremony. However, the doctrine was startling to Mormons when it was introduced, and it remained controversial. Several other Mormon leaders, the most vocal being Orson Pratt, rejected the doctrine in favor of other theological ideas. Soon after Young's death in 1877, the Adam–God doctrine fell out of favor within mainstream Mormonism, and was replaced by a theology more similar to that of Orson Pratt, as codified by turn-of-the century Mormon theologians James E. Talmage, B. H. Roberts and John A. Widtsoe. While rejected as false doctrine by the main body of Mormons comprising The Church of Jesus Christ of Latter-day Saints, the Adam–God doctrine remains an important part of the theology of Mormon fundamentalism.

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Though Joseph Smith, Jr., the founder of Mormonism, never taught the Adam–God doctrine in any of his recorded public statements, he provided several teachings from which Adam–God adherents draw support. For example, Smith taught in an 1839 sermon that Adam was actually the archangel Michael who held the First Presidency in the premortal life.[2] In the same sermon, Smith taught that Adam holds "the keys of the universe",[3] so that it is through his authority that all priesthood "keys" (i.e., the abilities to unlock particular priesthood powers) are revealed from heaven.[4] In 1840, Smith taught that Adam is the one "through whom Christ has been revealed from heaven, and will continue to be revealed from henceforth."[5] And finally, Smith taught in his 1844 King Follett discourse that God was once a man "like one of us".[6]
Brigham Young and other adherents of the Adam–God doctrine claim that Smith was the originator of the doctrine,[7] and that Smith privately taught them the doctrine before his death in 1844.[8] However, the prevailing academic view is that the Adam–God doctrine taught by Young and others was an elaboration of Smith's vague references to Adam's unique role in Mormon doctrine.[9] Although Young is generally credited with originating the doctrine, the original source could also have been Young's counselor Heber C. Kimball.[10]

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[edit]Description of the doctrine

The Adam–God doctrine teaches that Adam is the father of both the spirits and physical bodies of all humans born on earth, including Jesus.[11]
Under the Adam–God doctrine, Adam had a number of roles. First, he was a creator god who, with his wife Eve had become gods by living a mortal life, becoming resurrected, and earning their exaltation on another planet.[12] As a god before the creation of the earth, he was known as Michael), or the "Ancient of Days". Adherents teach that Michael sat on his throne with other wives than Eve, and that he was a polygamist. Michael was not the only creator god, however, as he was a member of a council of earth's creator gods, which also included the gods "Elohim" and "Jehovah".[13] Within this counsel, Jehovah and Michael were subordinate to Elohim, and created the earth under the direction of Elohim. Michael was selected by the heads of this counsel of gods to be the Father of this earth.[14]
Second, the doctrine teaches that Michael was the father of the spirits in heaven who are associated with this earth.[15] Through natural or sexual relations with at least Eve and possibly his other wives, Michael had fathered the spirits of spirit offspring in the preexistence.[15] These spirits included Jesus, his firstborn, and Lucifer (the fallen angel who Mormons believe is Satan).[16] Michael became the heavenly "Father", and formed a "Godhead" that included Jesus and the Holy Spirit.
Third, the doctrine teaches that Michael came to the earth with one of his wives, where they became known as Adam and Eve,[15] and became the progenitor of the human race and the father of mortal bodies of all his spirit offspring, so that they could progress and achieve godhood like themselves.[17] The names "Adam" and "Eve" are titles that reflect their roles as the parents of humanity. The privilege of peopling the earth was part of Adam and Eve's eternal reward as exalted mortals from their prior planet.[18] To bear mortal children, Adam and Eve had to take on mortal bodies.[15] The bodies of Adam and Eve fell to a mortal state when they ate the fruits of the garden.[19]
Fourth, after Adam's second mortal life, the Adam–God doctrine teaches that Adam returned to his throne and reigned as the immortal God of this earth.[20] He is thus considered to be the Biblical god of Israel.[21]
Finally, the Adam–God doctrine teaches that Michael/Adam was the literal, biological father, with Mary of the mortal body of Jesus.[22]
http://en.wikipedia.org/wiki/Adam-God_theory

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Cosmic Man
From Wikipedia, the free encyclopedia
In Jungian theory, the Cosmic Man is an archetypical figure that appears in creation myths of a wide variety of mythology. Generally he is described as helpful or positive, and is also frequently the physical basis of the world, such that after death parts of his body became physical parts of the universe. He also represents the oneness of human existence, or the universe.
For example, in Chinese legend, Pangu is thought to have given the natural features of the Earth their form, and when he died his body became the Sacred Mountains of China. The Persian equivalent, Keyumars, released semen when he died, out of which came the first human couple.
In some Jewish legends, Adam was created from dust from the four corners of the Earth, and, when bent down, his head was the East and his feet the West. In another legend, he contained the soul of everybody who would ever be born. In the teachings of Kabbalah, such a primordial man is referred to as Adam Kadmon. In Indian mythology, Purusha is a similar figure, who is considered the part of the individual which is immortal.

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In many myths, the Cosmic Man is not just the beginning but also the final goal of life or creation. This is not necessarily a physical event, but may refer to the identification of the conscious ego with the self.
In the religious sciences of Islam, a more detailed explanation is furnished. The Cosmic Man originally refers to Adam, the original and the first perfect man (Perfect Man). According to the sciences, Adam was a Cosmic Being because, aside from an all-embracing power over the entire Cosmos, Adam also enjoyed the most privileged spiritual, imaginal and physical state(s) determined for a human being.
In the more modern interpretations, Cosmic Man is seen as an awaited Leader who is to appear at "the end of time" to establish a Golden Age or the Cosmic age of earth.
This awaited leaders light, or more properly, the light of all such Cosmic men, being none other than the original Light of Prophet Muhammad.
http://en.wikipedia.org/wiki/Cosmic_Man

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Macrocosm and microcosm
From Wikipedia, the free encyclopedia
"Macrocosm" redirects here. For Star Trek episode, see Macrocosm (Star Trek: Voyager).

This article may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this article if you can; the talk page may contain suggestions. (January 2010)
Macrocosm and microcosm is an ancient Greek Neo-Platonic schema of seeing the same patterns reproduced in all levels of the cosmos, from the largest scale (macrocosm or universe-level) all the way down to the smallest scale (microcosm or sub-sub-atomic or even metaphysical-level). In the system the midpoint is Man, who summarizes the cosmos.
The Greeks were philosophically concerned with a rational explanation of everything and saw the repetition of the golden ratio throughout the world and all levels of reality as a step towards this unifying theory. In short, it is the recognition that the same traits appear in entities of many different sizes, from one man to the entire human population.

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Macrocosm/microcosm is a Greek compound of ىلêٌï- "Macro-" and ىéêٌï- "Micro-", which are Greek respectively for "large" and "small", and the word êόَىïٍ kَsmos which means "order" as well as "world" or "ordered world."
Today, the concept of microcosm has been dominated by sociology to mean a small group of individuals whose behavior is typical of a larger social body encompassing it. A microcosm can be seen as a special kind of epitome. Conversely, a macrocosm is a social body made of smaller compounds.
http://en.wikipedia.org/wiki/Macrocosm_and_microcosm

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Adam Kadmon
v t e
In the religious writings of Kabbalah, Adam Kadmon is a phrase meaning "Primal Man". The oldest rabbinical source for the term "Adam ha-Ḳadmoni" is Num. R. x., where Adam is styled, not as usually, "Ha-Rishon" (the first), "Ha-Kadmoni" (the original).
It is said that Adam Ḳadmon had rays of light projecting from his eyes. In Lurianic Kabbalah, Adam Ḳadmon acquired an exalted status equivalent to Purusha in the Upanishads, denoting an anthropomorphic concept of the universe itself. In this variant of mythopoetic cosmogenesis and anthropogenesis, the "Adam Soul" is described as the primeval soul that contained all human souls.
Adam Ḳadmon is comparable to the Anthropos of Gnosticism and Manichaeism. There is also a similar concept in Alevi and Sufic philosophy called al-Insân al-Kâmil (الإنسان الكامل), the Perfect or Complete Man.

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Luria
The conception of Adam Ḳadmon becomes an important factor in the later Kabbalah of Luria. Adam Ḳadmon is with him no longer the concentrated manifestation of the Sefirot, but a mediator between the En-Sof ("Infinite") and the Sefirot. The En-Sof, according to Luria, is so utterly incomprehensible that the older Kabbalistic doctrine of the manifestation of the En-Sof in the Sefirot must be abandoned. Hence he teaches that only the Adam Ḳadmon, who arose in the way of self-limitation by the En-Sof, can be said to manifest himself in the Sefirot. This theory of Luria is treated by Ḥayyim Vital in "'Eẓ Ḥayyim; Derush 'Agulim we-Yosher" (Treatise on Circles and the Straight Line).
http://en.wikipedia.org/wiki/Adam_Kadmon

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Orion (constellation)
From Wikipedia, the free encyclopedia
For other uses, see Orion (disambiguation).
Orion
Constellation



Orion, sometimes subtitled The Hunter, is a prominent constellation located on the celestial equator and visible throughout the world. It is one of the most conspicuous, and most recognisable constellations in the night sky.[1] Its name refers to Orion, a hunter in Greek mythology.

See also: List of stars in Orion


Orion as depicted in Urania's Mirror, a set of constellation cards published in London c.1825
Orion includes the prominent asterism known as the Belt of Orion: three bright stars in a row. Surrounding the belt at roughly similar distances are four bright stars, which are considered to represent the outline of the hunter's body. Descending from the 'belt' is a smaller line of three stars (the middle of which is in fact not a star but the Orion Nebula), known as the hunter's 'sword'.
In artistic renderings, the surrounding constellations are sometimes related to Orion: he is depicted standing next to the river Eridanus with his two hunting dogs Canis Major and Canis Minor, fighting Taurus the bull. He is sometimes depicted hunting Lepus the hare. He also sometimes is depicted to have a lion in his hand.
There are alternative ways to visualise Orion. From the Southern Hemisphere, Orion is oriented south-upward, and the belt and sword are sometimes called the saucepan or pot in Australia and New Zealand. Orion's Belt is called Drie Konings (Three Kings) or the Drie Susters (Three Sisters) by Afrikaans speakers in South Africa[2] and are referred to as les Trois Rois (the Three Kings) in Daudet's Lettres de Mon Moulin (1866). The appellation Driekoningen (the Three Kings) is also often found in 17th- and 18th-century Dutch star charts and seaman's guides. The same three stars are known in Spain and Latin America as "Las Tres Marías".

http://en.wikipedia.org/wiki/Orion_(constellation)

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Tree of life
From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Tree_of_life
For other uses, see Tree of life (disambiguation).

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2009)


An 1847 depiction of the Norse Yggdrasil as described in the Icelandic Prose Edda by Oluf Olufsen Bagge.
The concept of a tree of life has been used in science (see tree of life (biology)), religion, philosophy, mythology, and other areas. A tree of life is variously a motif in various world theologies, mythologies, and philosophies; a mystical concept alluding to the interconnectedness of all life on our planet; and a metaphor for common descent in the evolutionary sense.
The tree of knowledge, connecting to heaven and the underworld, and the tree of life, connecting all forms of creation, are both forms of the world tree or cosmic tree, according to the Encyclopædia Britannica,[1] and are portrayed in various religions and philosophies as the same tree.[2]
Contents [hide]


Main article: Trees in mythology
Various trees of life are recounted in folklore, culture and fiction, often relating to immortality or fertility. They had their origin in religious symbolism.
[edit]Ancient Egypt


Worshipping Osiris, Isis, and Horus
In Egyptian mythology, in the Ennead system of Heliopolis, the first couple, apart from Shu and Tefnut (moisture and dryness) and Geb and Nuit (earth and sky), are Isis and Osiris. They were said to have emerged from the acacia tree of Iusaaset, which the Egyptians considered the tree of life, referring to it as the "tree in which life and death are enclosed." A much later myth relates how Set killed Osiris, putting him in a coffin, and throwing it into the Nile, the coffin becoming embedded in the base of a tamarisk tree.[3]

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Emerald Tablet
From Wikipedia, the free encyclopedia


A 17th century depiction of the Tablet by Heinrich Khunrath, 1606
The Emerald Tablet, also known as Smaragdine Table, Tabula Smaragdina, or The Secret of Hermes, is a text purporting to reveal the secret of the primordial substance and its transmutations. It claims to be the work of Hermes Trismegistus ("Hermes the Thrice-Greatest"), a legendary Hellenistic[1] combination of the Greek god Hermes and the Egyptian god Thoth.[2]
Below are shown several translations including the Arabic, the Latin, and one from Isaac Newton. The compact and cryptic text was highly regarded by European alchemists as the foundation of their art, in particular of its Hermetic tradition. Interpreting the layers of meanings of the Emerald Tablet, from individual words to the overall meaning, is fraught with possibilities, but certainly Alchemy's Magnum opus and the ancient, classical, element system are the basis of any sound explanation, as they provide a key to the ideas of earth, fire, sun, moon, etc., common to all the translations.

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Newton's translation
One translation, by Isaac Newton, found among his alchemical papers as reported by B. J. Dobbs[4] in modern spelling:
Tis true without lying, certain most true.
That which is below is like that which is above that which is above is like that which is below to do the miracles of one only thing.
And as all things have been arose from one by the mediation of one: so all things have their birth from this one thing by adaptation.
The Sun is its father, the moon its mother,
the wind hath carried it in its belly, the earth its nurse.
The father of all perfection in the whole world is here.
Its force or power is entire if it be converted into earth.
Separate thou the earth from the fire, the subtle from the gross sweetly with great industry.
It ascends from the earth to the heaven again it descends to the earth and receives the force of things superior and inferior.
By this means ye shall have the glory of the whole world thereby all obscurity shall fly from you.
Its force is above all force. for it vanquishes every subtle thing and penetrates every solid thing.
So was the world created.
From this are and do come admirable adaptations whereof the means (Or process) is here in this.
Hence I am called Hermes Trismegist, having the three parts of the philosophy of the whole world.
That which I have said of the operation of the Sun is accomplished and ended.
http://en.wikipedia.org/wiki/Emerald_Tablet

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Vitruvian Man
From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Vitruvian_Man
Vitruvian Man

Artist Leonardo da Vinci
Year c. 1487
Type Pen and ink with wash over metalpoint
on paper
Dimensions 34.4 × 25.5 cm (13.5 × 10.0 in)
The Vitruvian Man is a drawing created by Leonardo da Vinci circa 1487.[1] It is accompanied by notes based on the work of the architect, Vitruvius. The drawing, which is in pen and ink on paper, depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is stored in the Gallerie dell'Accademia in Venice, Italy, and, like most works on paper, is displayed only occasionally.[2][3]
The drawing is based on the correlations of ideal human proportions with geometry described[4] by the ancient Roman architect Vitruvius in Book III of his treatise De Architectura. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Leonardo's drawing is traditionally named in honor of the architect.

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This image exemplifies the blend of art and science during the Renaissance and provides the perfect example of Leonardo's keen interest in proportion. In addition, this picture represents a cornerstone of Leonardo's attempts to relate man to nature. Encyclopaedia Britannica online states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe."
According to Leonardo's preview in the accompanying text, written in mirror writing, it was made as a study of the proportions of the (male) human body as described in Vitruvius. The text is in two parts, above[a] and below[b] the image.
The first paragraph of the upper part reports Vitruvius: "Vetruvio, architect, puts in his work on architecture that the measurements of man are in nature distributed in this manner, that is:
a palm is four fingers
a foot is four palms
a cubit is six palms
four cubits make a man
a pace is four cubits
a man is 24 palms

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Sacred geometry
http://en.wikipedia.org/wiki/Sacred_geometry
From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2009)
Sacred geometry is the geometry used in the planning and construction of religious structures such as churches, temples, mosques, religious monuments, altars, tabernacles; as well as for sacred spaces such as temenoi, sacred groves, village greens and holy wells, and the creation of religious art. In sacred geometry, symbolic and sacred meanings are ascribed to certain geometric shapes and certain geometric proportions. According to Paul Calter:[1]
In the ancient world certain numbers had symbolic meaning, aside from their ordinary use for counting or calculating ... plane figures, the polygons, triangles, squares, hexagons, and so forth, were related to the numbers (three and the triangle, for example), were thought of in a similar way, and in fact, carried even more emotional value than the numbers themselves, because they were visual.

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[edit]As worldview and cosmology

The belief that God created the universe according to a geometric plan has ancient origins. Plutarch attributed the belief to Plato, writing "Plato said God geometrizes continually" (Convivialium disputationum, liber 8,2). In modern times the mathematician Carl Friedrich Gauss adapted this quote, saying "God arithmetizes." [2]
At least as late as Johannes Kepler (1571–1630), a belief in the geometric underpinnings of the cosmos persisted among scientists. See also Kepler conjecture, Mysterium Cosmographicum, Pythagoreanism


Closeup of inner section of the Kepler's Platonic solid model of planetary spacing in the Solar system from Mysterium Cosmographicum (1596).

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[edit]Natural forms

According to Stephen Skinner, the study of sacred geometry has its roots in the study of nature, and the mathematical principles at work therein[3]. Many forms observed in nature can be related to geometry, for example, the chambered nautilus grows at a constant rate and so its shell forms a logarithmic spiral to accommodate that growth without changing shape. Also, honeybees construct hexagonal cells to hold their honey. These and other correspondences are seen by believers in sacred geometry to be further proof of the cosmic significance of geometric forms. These phenomena can be explained through natural principles.[4]

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[edit]Art and architecture

Geometric ratios, and geometric figures were often employed in the design of Egyptian, ancient Indian, Greek and Roman architecture. Medieval European cathedrals also incorporated symbolic geometry. Indian and Himalayan spiritual communities often constructed temples and fortifications on design plans of mandala and yantra.
Many of the sacred geometry principles of the human body and of ancient architecture have been compiled into the Vitruvian Man drawing by Leonardo Da Vinci, itself based on the much older writings of the roman architect Vitruvius.

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[edit]Unanchored geometry

Stephen Skinner suggests that it is possible to place a geometric diagram over virtually any image of a natural object or human created structure, and find some lines intersecting the image. If the geometric diagram does not intersect major physical points in the image, the result is what Skinner calls "unanchored geometry." [5]
[edit]Music

Pythagoras is often credited for discovering that an oscillating string stopped halfway along its length produces an octave relative to the string's fundamental, while a ratio of 2:3 produces a perfect fifth and 3:4 produces a perfect fourth. However the Chinese already had instruments that were thousands of years older, such as the Guqin that also feature these tonal scales. Pythagoreans believed that these harmonic ratios gave music powers of healing which could "harmonize" an out-of-balance body[citation needed]

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Golden ratio
From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Golden_ratio
This article is about the number. For the album, see The Golden Ratio (album). For calendar dates, see Golden number (time).


Line segments in the golden ratio

where the Greek letter phi () represents the golden ratio. Its value is:
[1]
At least since the 20th century, many artists and architects have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing (see Applications and observations below). A golden rectangle can be cut into a square and a smaller rectangle with the same aspect ratio. Mathematicians since Euclid have studied the golden ratio because of its unique and interesting properties. The golden ratio is also used in the analysis of financial markets, in strategies such as Fibonacci retracement.
The golden ratio is often called the golden section (Latin: sectio aurea) or golden mean.[2][3][4] Other names include extreme and mean ratio,[5] medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut,[6] golden number, and mean of Phidias.[7][8][9]

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Mathematician Mark Barr proposed using the first letter in the name of Greek sculptor Phidias, phi, to symbolize the golden ratio. Usually, the lowercase form (φ) is used. Sometimes, the uppercase form (Φ) is used for the reciprocal of the golden ratio, 1/φ.[10]
The golden ratio has fascinated Western intellectuals of diverse interests for at least 2,400 years. According to Mario Livio:
Some of the greatest mathematical minds of all ages, from Pythagoras and Euclid in ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler, to present-day scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its properties. But the fascination with the Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics.[11]
Ancient Greek mathematicians first studied what we now call the golden ratio because of its frequent appearance in geometry. The division of a line into "extreme and mean ratio" (the golden section) is important in the geometry of regular pentagrams and pentagons. The Greeks usually attributed discovery of this concept to Pythagoras or his followers. The regular pentagram, which has a regular pentagon inscribed within it, was the Pythagoreans' symbol.
Euclid's Elements (Greek: Στοιχεῖα) provides the first known written definition of what is now called the golden ratio: "A straight line is said to have been cut in extreme and mean ratio when, as the whole line is to the greater segment, so is the greater to the less."[5] Euclid explains a construction for cutting (sectioning) a line "in extreme and mean ratio", i.e. the golden ratio.[12] Throughout the Elements, several propositions (theorems in modern terminology) and their proofs employ the golden ratio.[13] Some of these propositions show that the golden ratio is an irrational number.
The name "extreme and mean ratio" was the principal term used from the 3rd century BC[5] until about the 18th century.
The modern history of the golden ratio starts with Luca Pacioli's De divina proportione of 1509, which captured the imagination[citation needed] of artists, architects, scientists, and mystics with the properties, mathematical and otherwise, of the golden ratio.

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Michael Maestlin, first to publish a decimal approximation of the golden ratio, in 1597.
The first known approximation of the (inverse) golden ratio by a decimal fraction, stated as "about 0.6180340," was written in 1597 by Michael Maestlin of the University of Tübingen in a letter to his former student Johannes Kepler.[14]
Since the twentieth century, the golden ratio has been represented by the Greek letter Φ or φ (phi, after Phidias, a sculptor who is said to have employed it) or less commonly by τ (tau, the first letter of the ancient Greek root τομή—meaning cut).[2][15]
[edit]Timeline
Timeline according to Priya Hemenway.[16]
Phidias (490–430 BC) made the Parthenon statues that seem to embody the golden ratio.
Plato (427–347 BC), in his Timaeus, describes five possible regular solids (the Platonic solids: the tetrahedron, cube, octahedron, dodecahedron, and icosahedron), some of which are related to the golden ratio.[17]
Euclid (c. 325–c. 265 BC), in his Elements, gave the first recorded definition of the golden ratio, which he called, as translated into English, "extreme and mean ratio" (Greek: ἄκρος καὶ μέσος λόγος).[5]

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Fibonacci (1170–1250) mentioned the numerical series now named after him in his Liber Abaci; the ratio of sequential elements of the Fibonacci sequence approaches the golden ratio asymptotically.
Luca Pacioli (1445–1517) defines the golden ratio as the "divine proportion" in his Divina Proportione.
Michael Maestlin (1550–1631) publishes the first known approximation of the (inverse) golden ratio as a decimal fraction.
Johannes Kepler (1571–1630) proves that the golden ratio is the limit of the ratio of consecutive Fibonacci numbers,[18] and describes the golden ratio as a "precious jewel": "Geometry has two great treasures: one is the Theorem of Pythagoras, and the other the division of a line into extreme and mean ratio; the first we may compare to a measure of gold, the second we may name a precious jewel." These two treasures are combined in the Kepler triangle.
Charles Bonnet (1720–1793) points out that in the spiral phyllotaxis of plants going clockwise and counter-clockwise were frequently two successive Fibonacci series.
Martin Ohm (1792–1872) is believed to be the first to use the term goldener Schnitt (golden section) to describe this ratio, in 1835.[19]
Édouard Lucas (1842–1891) gives the numerical sequence now known as the Fibonacci sequence its present name.
Mark Barr (20th century) suggests the Greek letter phi (φ), the initial letter of Greek sculptor Phidias's name, as a symbol for the golden ratio.[20]
Roger Penrose (b.1931) discovered a symmetrical pattern that uses the golden ratio in the field of aperiodic tilings, which led to new discoveries about quasicrystals.

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[edit]Applications and observations

[edit]Aesthetics
See also: History of aesthetics (pre-20th-century)
De Divina Proportione, a three-volume work by Luca Pacioli, was published in 1509. Pacioli, a Franciscan friar, was known mostly as a mathematician, but he was also trained and keenly interested in art. De Divina Proportione explored the mathematics of the golden ratio. Though it is often said that Pacioli advocated the golden ratio's application to yield pleasing, harmonious proportions, Livio points out that the interpretation has been traced to an error in 1799, and that Pacioli actually advocated the Vitruvian system of rational proportions.[2] Pacioli also saw Catholic religious significance in the ratio, which led to his work's title. Containing illustrations of regular solids by Leonardo da Vinci, Pacioli's longtime friend and collaborator, De Divina Proportione was a major influence on generations of artists and architects alike.[citation needed]

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[edit]Architecture


Many of the proportions of the Parthenon are alleged to exhibit the golden ratio.
The Parthenon's facade as well as elements of its facade and elsewhere are said by some to be circumscribed by golden rectangles.[21] Other scholars deny that the Greeks had any aesthetic association with golden ratio. For example, Midhat J. Gazalé says, "It was not until Euclid, however, that the golden ratio's mathematical properties were studied. In the Elements (308 BC) the Greek mathematician merely regarded that number as an interesting irrational number, in connection with the middle and extreme ratios. Its occurrence in regular pentagons and decagons was duly observed, as well as in the dodecahedron (a regular polyhedron whose twelve faces are regular pentagons). It is indeed exemplary that the great Euclid, contrary to generations of mystics who followed, would soberly treat that number for what it is, without attaching to it other than its factual properties."[22] And Keith Devlin says, "Certainly, the oft repeated assertion that the Parthenon in Athens is based on the golden ratio is not supported by actual measurements. In fact, the entire story about the Greeks and golden ratio seems to be without foundation. The one thing we know for sure is that Euclid, in his famous textbook Elements, written around 300 BC, showed how to calculate its value."[23] Near-contemporary sources like Vitruvius exclusively discuss proportions that can be expressed in whole numbers, i.e. commensurate as opposed to irrational proportions.

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A geometrical analysis of the Great Mosque of Kairouan reveals a consistent application of the golden ratio throughout the design, according to Boussora and Mazouz.[24] They found ratios close to the golden ratio in the overall proportion of the plan and in the dimensioning of the prayer space, the court, and the minaret.
The Swiss architect Le Corbusier, famous for his contributions to the modern international style, centered his design philosophy on systems of harmony and proportion. Le Corbusier's faith in the mathematical order of the universe was closely bound to the golden ratio and the Fibonacci series, which he described as "rhythms apparent to the eye and clear in their relations with one another. And these rhythms are at the very root of human activities. They resound in man by an organic inevitability, the same fine inevitability which causes the tracing out of the Golden Section by children, old men, savages and the learned."[25]
Le Corbusier explicitly used the golden ratio in his Modulor system for the scale of architectural proportion. He saw this system as a continuation of the long tradition of Vitruvius, Leonardo da Vinci's "Vitruvian Man", the work of Leon Battista Alberti, and others who used the proportions of the human body to improve the appearance and function of architecture. In addition to the golden ratio, Le Corbusier based the system on human measurements, Fibonacci numbers, and the double unit. He took suggestion of the golden ratio in human proportions to an extreme: he sectioned his model human body's height at the navel with the two sections in golden ratio, then subdivided those sections in golden ratio at the knees and throat; he used these golden ratio proportions in the Modulor system. Le Corbusier's 1927 Villa Stein in Garches exemplified the Modulor system's application. The villa's rectangular ground plan, elevation, and inner structure closely approximate golden rectangles.[26]
Another Swiss architect, Mario Botta, bases many of his designs on geometric figures. Several private houses he designed in Switzerland are composed of squares and circles, cubes and cylinders. In a house he designed in Origlio, the golden ratio is the proportion between the central section and the side sections of the house.[27]
In a recent book, author Jason Elliot speculated that the golden ratio was used by the designers of the Naqsh-e Jahan Square and the adjacent Lotfollah mosque.[28]

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[edit]Painting


The drawing of a man's body in a pentagram suggests relationships to the golden ratio.[29]
The 16th-century philosopher Heinrich Agrippa drew a man over a pentagram inside a circle, implying a relationship to the golden ratio.[29]
Leonardo da Vinci's illustrations of polyhedra in De divina proportione (On the Divine Proportion) and his views that some bodily proportions exhibit the golden ratio have led some scholars to speculate that he incorporated the golden ratio in his paintings.[30] But the suggestion that his Mona Lisa, for example, employs golden ratio proportions, is not supported by anything in Leonardo's own writings.[31]
Salvador Dalí, influenced by the works of Matila Ghyka,[32] explicitly used the golden ratio in his masterpiece, The Sacrament of the Last Supper. The dimensions of the canvas are a golden rectangle. A huge dodecahedron, in perspective so that edges appear in golden ratio to one another, is suspended above and behind Jesus and dominates the composition.[2][33]
Mondrian has been said to have used the golden section extensively in his geometrical paintings,[34] though other experts (including critic Yve-Alain Bois) have disputed this claim.[2]
A statistical study on 565 works of art of different great painters, performed in 1999, found that these artists had not used the golden ratio in the size of their canvases. The study concluded that the average ratio of the two sides of the paintings studied is 1.34, with averages for individual artists ranging from 1.04 (Goya) to 1.46 (Bellini).[35] On the other hand, Pablo Tosto listed over 350 works by well-known artists, including more than 100 which have canvasses with golden rectangle and root-5 proportions, and others with proportions like root-2, 3, 4, and 6.[36]

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[edit]Book design


Depiction of the proportions in a medieval manuscript. According to Jan Tschichold: "Page proportion 2:3. Margin proportions 1:1:2:3. Text area proportioned in the Golden Section."[37]
Main article: Canons of page construction
According to Jan Tschichold,[38]
There was a time when deviations from the truly beautiful page proportions 2:3, 1:√3, and the Golden Section were rare. Many books produced between 1550 and 1770 show these proportions exactly, to within half a millimeter.
[edit]Finance
The golden ratio and related numbers are used in the financial markets. It is used in trading algorithms, applications, and strategies. Some typical forms include: the Fibonacci fan, the Fibonacci arc, Fibonacci retracement, and the Fibonacci time extension.[39]
[edit]Industrial design
Some sources claim that the golden ratio is commonly used in everyday design, for example in the shapes of postcards, playing cards, posters, wide-screen televisions, photographs, and light switch plates.[40][41][42][43]

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[edit]Music
Ernő Lendvaï analyzes Béla Bartók's works as being based on two opposing systems, that of the golden ratio and the acoustic scale,[44] though other music scholars reject that analysis.[2] In Bartok's Music for Strings, Percussion and Celesta the xylophone progression occurs at the intervals 1:2:3:5:8:5:3:2:1.[45] French composer Erik Satie used the golden ratio in several of his pieces, including Sonneries de la Rose+Croix. The golden ratio is also apparent in the organization of the sections in the music of Debussy's Reflets dans l'eau (Reflections in Water), from Images (1st series, 1905), in which "the sequence of keys is marked out by the intervals 34, 21, 13 and 8, and the main climax sits at the phi position."[45]
The musicologist Roy Howat has observed that the formal boundaries of La Mer correspond exactly to the golden section.[46] Trezise finds the intrinsic evidence "remarkable," but cautions that no written or reported evidence suggests that Debussy consciously sought such proportions.[47] Also, many works of Chopin, mainly Etudes (studies) and Nocturnes, are formally based on the golden ratio. This results in the biggest climax of both musical expression and technical difficulty after about 2/3 of the piece.[citation needed]
Pearl Drums positions the air vents on its Masters Premium models based on the golden ratio. The company claims that this arrangement improves bass response and has applied for a patent on this innovation.[48]

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[edit]Nature
A detail of an Aeonium tabuliforme in Trädgårdsföreningen, Göteborg
Adolf Zeising, whose main interests were mathematics and philosophy, found the golden ratio expressed in the arrangement of branches along the stems of plants and of veins in leaves. He extended his research to the skeletons of animals and the branchings of their veins and nerves, to the proportions of chemical compounds and the geometry of crystals, even to the use of proportion in artistic endeavors. In these phenomena he saw the golden ratio operating as a universal law.[49] In connection with his scheme for golden-ratio-based human body proportions, Zeising wrote in 1854 of a universal law "in which is contained the ground-principle of all formative striving for beauty and completeness in the realms of both nature and art, and which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical; which finds its fullest realization, however, in the human form."[50]
In 2003, Volkmar Weiss and Harald Weiss analyzed psychometric data and theoretical considerations and concluded that the golden ratio underlies the clock cycle of brain waves.[51] In 2008 this was empirically confirmed by a group of neurobiologists.[52]
In 2010, the journal Science reported that the golden ratio is present at the atomic scale in the magnetic resonance of spins in cobalt niobate crystals.[53]
Several researchers have proposed connections between the golden ratio and human genome DNA.[54][55][56]
However, some have argued that many of the apparent manifestations of the golden mean in nature, especially in regard to animal dimensions, are in fact fictitious.[57]

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[edit]Optimization
The golden ratio is key to the golden section search.
[edit]Perceptual studies
Studies by psychologists, starting with Fechner, have been devised to test the idea that the golden ratio plays a role in human perception of beauty. While Fechner found a preference for rectangle ratios centered on the golden ratio, later attempts to carefully test such a hypothesis have been, at best, inconclusive.[2][58]
[edit]Mathematics

[edit]Golden ratio conjugate

The absolute value of this quantity (≈ 0.618) corresponds to the length ratio taken in reverse order (shorter segment length over longer segment length, b/a), and is sometimes referred to as the golden ratio conjugate.[10] It is denoted here by the capital Phi (Φ):

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[edit]Geometry


Approximate and true golden spirals. The green spiral is made from quarter-circles tangent to the interior of each square, while the red spiral is a Golden Spiral, a special type of logarithmic spiral. Overlapping portions appear yellow. The length of the side of one square divided by that of the next smaller square is the golden ratio.
The number φ turns up frequently in geometry, particularly in figures with pentagonal symmetry. The length of a regular pentagon's diagonal is φ times its side. The vertices of a regular icosahedron are those of three mutually orthogonal golden rectangles.
There is no known general algorithm to arrange a given number of nodes evenly on a sphere, for any of several definitions of even distribution (see, for example, Thomson problem). However, a useful approximation results from dividing the sphere into parallel bands of equal area and placing one node in each band at longitudes spaced by a golden section of the circle, i.e. 360°/φ ≅ 222.5°. This method was used to arrange the 1500 mirrors of the student-participatory satellite Starshine-3.[61]

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[edit]Symmetries
The golden ratio and inverse golden ratio have a set of symmetries that preserve and interrelate them. They are both preserved by the fractional linear transformations – this fact corresponds to the identity and the definition quadratic equation. Further, they are interchanged by the three maps – they are reciprocals, symmetric about , and (projectively) symmetric about 2.
More deeply, these maps form a subgroup of the modular group isomorphic to the symmetric group on 3 letters, corresponding to the stabilizer of the set of 3 standard points on the projective line, and the symmetries correspond to the quotient map – the subgroup consisting of the 3-cycles and the identity fixes the two numbers, while the 2-cycles interchange these, thus realizing the map.

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[edit]Pyramids



A regular square pyramid is determined by its medial right triangle, whose edges are the pyramid's apothem (a), semi-base (b), and height (h); the face inclination angle is also marked. Mathematical proportions b:h:a of and and are of particular interest in relation to Egyptian pyramids.
Both Egyptian pyramids and those mathematical regular square pyramids that resemble them can be analyzed with respect to the golden ratio and other ratios.
[edit]Mathematical pyramids and triangles
A pyramid in which the apothem (slant height along the bisector of a face) is equal to φ times the semi-base (half the base width) is sometimes called a golden pyramid. The isosceles triangle that is the face of such a pyramid can be constructed from the two halves of a diagonally split golden rectangle (of size semi-base by apothem), joining the medium-length edges to make the apothem. The height of this pyramid is times the semi-base (that is, the slope of the face is ); the square of the height is equal to the area of a face, φ times the square of the semi-base.
The medial right triangle of this "golden" pyramid (see diagram), with sides is interesting in its own right, demonstrating via the Pythagorean theorem the relationship or . This "Kepler triangle"[68] is the only right triangle proportion with edge lengths in geometric progression,[64] just as the 3–4–5 triangle is the only right triangle proportion with edge lengths in arithmetic progression. The angle with tangent corresponds to the angle that the side of the pyramid makes with respect to the ground, 51.827… degrees (51° 49' 38").[69]
A nearly similar pyramid shape, but with rational proportions, is described in the Rhind Mathematical Papyrus (the source of a large part of modern knowledge of ancient Egyptian mathematics), based on the 3:4:5 triangle;[70] the face slope corresponding to the angle with tangent 4/3 is 53.13 degrees (53 degrees and 8 minutes).[71] The slant height or apothem is 5/3 or 1.666… times the semi-base. The Rhind papyrus has another pyramid problem as well, again with rational slope (expressed as run over rise). Egyptian mathematics did not include the notion of irrational numbers,[72] and the rational inverse slope (run/rise, multiplied by a factor of 7 to convert to their conventional units of palms per cubit) was used in the building of pyramids.[70]
Another mathematical pyramid with proportions almost identical to the "golden" one is the one with perimeter equal to 2π times the height, or h:b = 4:π. This triangle has a face angle of 51.854° (51°51'), very close to the 51.827° of the Kepler triangle. This pyramid relationship corresponds to the coincidental relationship .
Egyptian pyramids very close in proportion to these mathematical pyramids are known.[71]
[edit]Egyptian pyramids
In the mid-nineteenth century, Röber studied various Egyptian pyramids including Khafre, Menkaure and some of the Giza, Sakkara, and Abusir groups, and was interpreted as saying that half the base of the side of the pyramid is the middle mean of the side, forming what other authors identified as the Kepler triangle; many other mathematical theories of the shape of the pyramids have also been explored.[64]
One Egyptian pyramid is remarkably close to a "golden pyramid"—the Great Pyramid of Giza (also known as the Pyramid of Cheops or Khufu). Its slope of 51° 52' is extremely close to the "golden" pyramid inclination of 51° 50' and the π-based pyramid inclination of 51° 51'; other pyramids at Giza (Chephren, 52° 20', and Mycerinus, 50° 47')[70] are also quite close. Whether the relationship to the golden ratio in these pyramids is by design or by accident remains open to speculation.[73] Several other Egyptian pyramids are very close to the rational 3:4:5 shape.[71]
Adding fuel to controversy over the architectural authorship of the Great Pyramid, Eric Temple Bell, mathematician and historian, claimed in 1950 that Egyptian mathematics would not have supported the ability to calculate the slant height of the pyramids, or the ratio to the height, except in the case of the 3:4:5 pyramid, since the 3:4:5 triangle was the only right triangle known to the Egyptians and they did not know the Pythagorean theorem, nor any way to reason about irrationals such as π or φ.[74]
Michael Rice[75] asserts that principal authorities on the history of Egyptian architecture have argued that the Egyptians were well acquainted with the golden ratio and that it is part of mathematics of the Pyramids, citing Giedon (1957).[76] Historians of science have always debated whether the Egyptians had any such knowledge or not, contending rather that its appearance in an Egyptian building is the result of chance.[77]
In 1859, the pyramidologist John Taylor claimed that, in the Great Pyramid of Giza, the golden ratio is represented by the ratio of the length of the face (the slope height), inclined at an angle θ to the ground, to half the length of the side of the square base, equivalent to the secant of the angle θ.[78] The above two lengths were about 186.4 and 115.2 meters respectively. The ratio of these lengths is the golden ratio, accurate to more digits than either of the original measurements. Similarly, Howard Vyse, according to Matila Ghyka,[79] reported the great pyramid height 148.2 m, and half-base 116.4 m, yielding 1.6189 for the ratio of slant height to half-base, again more accurate than the data variability.

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Music
Ernő Lendvaï analyzes Béla Bartók's works as being based on two opposing systems, that of the golden ratio and the acoustic scale,[44] though other music scholars reject that analysis.[2] In Bartok's Music for Strings, Percussion and Celesta the xylophone progression occurs at the intervals 1:2:3:5:8:5:3:2:1.[45] French composer Erik Satie used the golden ratio in several of his pieces, including Sonneries de la Rose+Croix. The golden ratio is also apparent in the organization of the sections in the music of Debussy's Reflets dans l'eau (Reflections in Water), from Images (1st series, 1905), in which "the sequence of keys is marked out by the intervals 34, 21, 13 and 8, and the main climax sits at the phi position."[45]
The musicologist Roy Howat has observed that the formal boundaries of La Mer correspond exactly to the golden section.[46] Trezise finds the intrinsic evidence "remarkable," but cautions that no written or reported evidence suggests that Debussy consciously sought such proportions.[47] Also, many works of Chopin, mainly Etudes (studies) and Nocturnes, are formally based on the golden ratio. This results in the biggest climax of both musical expression and technical difficulty after about 2/3 of the piece.[citation needed]
Pearl Drums positions the air vents on its Masters Premium models based on the golden ratio. The company claims that this arrangement improves bass response and has applied for a patent on this innovation.[48]

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Great Pyramid of Giza
From Wikipedia, the free encyclopedia



Ancient Name Khufu's Horizon
Constructed c. 2560–2540 BC
Type True Pyramid
Height 146.5 metres (481 ft)
Base 230.4 metres (756 ft)
The Great Pyramid of Giza (called the Pyramid of Khufu and the Pyramid of Cheops) is the oldest and largest of the three pyramids in the Giza Necropolis bordering what is now El Giza, Egypt. It is the oldest of the Seven Wonders of the Ancient World, and the only one to remain largely intact. Egyptologists believe that the pyramid was built as a tomb for fourth dynasty Egyptian Pharaoh Khufu (Cheops in Greek) over an approximately 20 year period concluding around 2560 BC. Initially at 146.5 metres (481 feet), the Great Pyramid was the tallest man-made structure in the world for over 3,800 years. Originally, the Great Pyramid was covered by casing stones that formed a smooth outer surface; what is seen today is the underlying core structure. Some of the casing stones that once covered the structure can still be seen around the base. There have been varying scientific and alternative theories about the Great Pyramid's construction techniques. Most accepted construction hypotheses are based on the idea that it was built by moving huge stones from a quarry and dragging and lifting them into place.
One mystery of the pyramid's construction is its planning. John Romer suggests that they used the same method that had been used for earlier and later constructions, laying out parts of the plan on the ground at a 1 to 1 scale. (11)
He writes that "such a working diagram would also serve to generate the architecture of the pyramid with precision unmatched by any other means."[24] He also argues for a 14 year time span for its construction.[
http://www.pakhomov.com/duat.html

http://www.hiddenmysteries.org/mysteries/history/maat.html

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Book of the Hidden Chamber - Sixth Hour
The five-headed serpent "Tail-in-Mouth" :
"the mysterious image of the Duat, unknown and unseen"
Tomb of Pharaoh Tuthmosis III (ca. 1479 - 1426 BCE)
by Wim van den Dungen
Epilogue
§ 1

In Ancient Egypt, rejuvenation (regeneration) is Osirian and Lunar, whereas illumination (rekindling) is Solar and linked with the Sungod Re-Atum, the self-created, fugal, interstitial, sole creator. Floating in Nun, bisexual Re-Atum engenders him(her)self.

Lunar magic was dark and bound to the netherworld or Duat, and therefore fundamentally rooted in Nun, the everlasting ground of existence. It involved the purification of the Ka and the offerings made to it to gratify the Ba. Its spirits abided in the sky of Osiris, the Field of Reeds.

Solar magic was luminous. Souls were transformed into spirits ascending towards the sky of Re, the Field of Peace (Field of Offering). There, in companionship with Re, they abided for ever on his "boat of millions". Indeed, in the Eastern horizon, the Ba (or soul), empowered by the Ka (or vital energy), was transformed into an Akh (or spirit), an efficient spiritual power. These ideas are already embryonic in the Pyramid Texts of Unas, the last king of the Vth Dynasty.

In the Old Kingdom (ca. 2670 - 2205 BCE), divine kingship was already an institution. Moreover, the magical role and presence of the "Akh" or efficient spirit of the divine king was deemed crucial. After the fall of the Old Kingdom, this attitude changed.

In the Middle Kingdom, the divine role of the "Lord of the Two Lands" was acknowledged, but the gods & goddesses had gained in importance. If the divine king died, the deities "took over" and state affairs could continue to count on popular approval and support. Festivals to honour the deities, thank them for their help and solicit them again abound. New theological speculations soon standard. Not only the divine king had a "Ba", as it had been in the Pyramid Age, but everybody. Tensions between Osiris and Re were mediated by identifying the former as the "Re of the Night", the dark Sun. Commoners could hope to become spirits in the retinue of Osiris and stay, as him, bound to his Duat. This was much better than utter desolation and final annihilation. Royals and the elite could however ascend to the sky of Re, the place he made for himself (cf. The Book of the Heavenly Cow, ca. 1323 BCE). Regeneration & ascension are the Two Ways of Egyptian spirituality.

Hand in hand with this change of attitude, the role of protective magic became also more important. Along with personal conscience, afterlife retribution turned fashionable. Did burial near the king suffice ? Clearly not. To act as skillful means to control the guardians of the many gates of the Duat, sacred texts (words of light) were inscribed in and on the coffins themselves. The process of mummification was enlarged and more amulets and talismans were added to the mummy, as well as spells on papyrus. Mummification involved the transformation of the physical body into a mummy. The latter is a ritual object (or "sah"), magically focusing the attention of the Ka & the Ba escaping, at death, from the physical net. The mummy is the interphase par excellence for the transitions & subsequent communication between the world of the living and the world of the dead.

To avoid annihilation because of a "heavy heart", pushing the Balance of Truth away from the Feather of Maat, special spells were added and amulets were placed on the mummy. "Evil" could be purged by affirming, using sacred language, one had not done so-and-so (cf. the Declaration of Innocence, chapter 125 of the Book of the Dead). Beside magical power, initiate knowledge was also important. The deceased is questioned about names, certain topics and secret names of gates etc. The proto-causal link, between knowing these names and overturning whatever opposition presented itself in the afterlife, is implicit. A magic consisting of graded initiate knowledge & co-relative practices seems to be the commanding idea here. Both during life, while dying & shortly after death and in the afterlife, funerary concerns prevailed. In the Ptolemaic Period, this magical knowledge (involving astrology, magic & alchemy), is the "technical" side of the otherwise "philosophical" Hermetica. It also turned up in the Western Tradition (the Orientale Lumen, Knight Templars, Qabalah, Rosicrucianism, Illuminati, Freemasonry, Golden Dawn, OTO, New Age, etc.).

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In the Egyptian mysteries, contrary to Greek initiation, initiate knowledge involved regeneration & ascension, combining the two two-tiered spiritual economy developed in the five schools of Ancient Egyptian theology : Ptah of Memphis (creative mind), Osiris of Abydos (creative flesh), Re-Atum of Heliopolis (creative energy), Thoth of Hermopolis (creative word & writing) & Amun-Re of Thebes (creative kingship) :

IN MEDIO LUNA : the (lower) sky of Osiris : Field of Reeds : the ultimate state of common human blessedness is to live the life of an "Osiris NN" in the vast, silent darkness of the Duat. Eternal sameness, "djet" or "djedet", represented by a goddess, is associated with the Lunar Osiris, because (a) his nocturnal jurisdiction is separated from the diurnal cycle of Re, (b) in the depths of the Duat, the everlasting waters of Nun flow and (c) Osiris exists in continuous darkness (he never leaves the Duat). This is the path of all commoners, doomed to remain the everlasting slaves of Osiris ;

IN TERMINIS SOLIS : the (upper) sky of Re : Field of Peace : the sky of Osiris and the sky of Re are proximate but ontologically separate (as darkness is always separated from clarity). After the highest spirituality of human servitude has been fulfilled in the kingdom of Osiris, the human "Ba" of the deceased is transformed, in the horizon, into a divine "Akh" of Re, sailing, among the other pure beings of light, on the Bark of Re, illuminating day and night. This path of Re is eternal, cyclical and discontinuous, for light and darkness are recurrent. This cycle of birth (in the East), full power (in the South), death (in the West) and rebirth at midnight (in the North), is represented by the god Neheh. This is the path of the divine king, his family and the spiritual elite (the high priests, senior priests and those specially selected by the divine king).

The New Kingdom "Books of the Netherworld" were the nec plus ultra of initiate knowledge, kept secret by a very small priestly elite. Because of their ultimate magical efficiency, realized by integrating new insights into the Duat, they were written around the sarcophagus of the divine kings. New avenues to a correct & efficient integration of Lunar & Solar energies (regeneration & ascension) had been found. As of old, regeneration (burial-chamber) remained the necessary prelude to ascension (antechamber). The separate jurisdiction given to Osiris made the Duat-voyage inevitable ! But who, besides the Wailers, wants to stay with Osiris ? Gods & blessed (justified) humans escape the Duat. Peace is companionship with Re, being on his bark or in his retinue. To be with this "great god" is the main soteriological purpose of the Amduat.

When these Books were edited, the Pyramid Texts, Coffin Texts and early versions of the Book of the Dead had already been widely used. Since the Book of the Two Ways (Coffin Texts, Spells 1029 to 1185 - before ca. 1759 BCE), the priesthood had been doing their more systematic study of the afterlife, aided by trance, ritual & magic. The tradition of these "Books of the Afterlife" is the result of this study. An interesting one, pointing to neurotheology, depth-psychology and spiritual practice. Although we cannot know for sure what this "research" precisely involved, and despite the fact the text we have today is only vaguely comprehensible -meaning all of this work is speculative- we may be sure the Egyptians were very serious about it.

More than a millennium before these texts, the physical tomb and its spatial semantics was canonized (cf. the Pyramid Age). King Unas (ca. 2378 - 2348 BCE), due to interiorization and maturation, was first to let the magic of hieroglyphs take over. Their precise, delicate, colorful and artistic rendering in the dark, underground chambers of his tomb points to the importance of form. De opere operato, these beautiful glyphs would execute their allotted tasks. In pre-rational thought, working with pre-concepts, psychomorphism endows the object with subjective features. In the Middle Kingdom (ca. 1938 - 1759 BCE) the canon of Imhotep became "classical" and Egypt realized, again as a nation, a fundamental mental "closure" by establishing a proto-rational system of concrete concepts. The impact of this "Egyptian Classicism" can be measured by the continuous reaffirmation of national unity under divine kingship, ending in the expulsion of the Hyksos and the founding of the "Age of Empire". The New Kingdom (ca. 1539 - 1075 BCE) made this proto-rationality widespread & popular, perfecting the completion. How hieroglyphs were executed, or their physical endurance were less the matter, but contents was. Emphasis lay on the actual instantaneous merging of "textual" & "visual" layers. This was needed to actually comprehend the hours and their interrelatedness in the process of Solar regeneration (1th - 6th Hour) & Solar ascension (7th - 12th Hour). This knowledge had proven to be valid and efficient, "a million times".

The Books of the Underworld are a "strip-like" literary genre, telling the story of the regeneration of the subtle bodies and the illumination of consciousness, represented by the "Ba of Re" in his barque. Of these, the Amduat is exemplar. The important novelty they share is the "fusion" of Osirian and Heliopolitan material : at dusk (West), the principle of movement (Ba) of the old Re is exhausted and needs to be replenished by merging with the body of Osiris in the Duat. The Ba of Re is "swallowed" by Nut, the star-goddess who's body appears at Sunset. The "unseen" path of Re is associated with the Duat, the "underworld", starting at 6 pm and ending at 6 am.

To renew, the "Ba of Re", the dynamic principle of consciousness, travels in darkness. During this Midnight Mystery (at 12 pm), Re moves to the "first moment", the "zep tepy". In this first occurrence, Atum emerges out of Nun. From there, Re-Atum returns with increased strength, emerging -out of the vulva of the sky-goddess Nut- as the new Solar child of dawn (cf. Harpocrates). Passing through the hours as a Ba-soul, the principle of Solar dynamism seeks rejuvenation by seeing & fusing with the "corpse of Osiris", merging with the first occurrence of creation and returning regenerated by it.

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Section 3
The Summary of the Amduat
The Twelve Hours :


Nun uncreated not creating
precreation everlastingness : djedet

Atum & Ennead uncreated creating
eternal First Time : neheh

Re Heru & Nesu created
not creating creation phenomenal time : at

Atum& Osiris uncreated(not) creating
postcreation

eschatological time

In the Books of the Underworld, the interpenetration of the Lunar & Solar ways is complete. The Ba of Re enters the Osirian Duat to regenerate. Seeing the corpse of Osiris and assuming the death posture triggers an instantaneous return of Re to the "first time" of Atum beyond the Duat. Regenerated (rekindled), Re-Atum continues his netherworldly path victorious, renewed and in total balance (with two Eyes). In the East, he rises out of Nut's vulva as the Renewed Solar Child (Harpocrates, a form of Horus). The mummy of Osiris is the Duat, from which new life (Horus) is born (cf. the scarab or sacred beetle, the end of regeneration, at the end of the 12th Hour). In this way, the Solar and the Lunar merge in Horus, the divine king. Indeed, Re and Osiris become the two faces of a single deity.

"This is Re who comes to rest in Osiris. This is Osiris who comes to rest in Re."
tomb of Queen Nefertari

The Midnight Mystery itself is the singular "Solar" moment when this Ba is regenerated by entering the mummy of Osiris and, transcending the Lunar order, reuniting with the endless ocean before creation began. Seeing what he is not (namely Osiris), Re comes to his true nature.

"The voice of Re is it, which comes to the image that is in him."
Amduat - 6th Hour, second register

In the Old Kingdom, when the divine king thrones center stage and he alone had a "Ba" to ascend, he did so to escape Osiris and be with Re. The popular "dark" Osiris was at odds with the royal "luminous" Re. Nevertheless, by the time Unas decreed his inner tomb to be inscribed, Osiris had entered the royal ritual. In it, the divine king had first to be rejuvenated by Osiris (in the burial-chamber) before ascending to Re "in the horizon" (in the antechamber), becoming an Akh rising towards the Imperishable, Circumpolar Stars. The Amduat depicts the ongoing process of life, consisting of a continuous circular movement of rise, culmination, dusk, regeneration and ascension (rebirth).

In these New Kingdom manuals, the regeneration of Re happened at midnight, his ascension at dawn. The hidden and mysterious image of the Duat, the mummified corpse of Osiris, invoked the everlasting presence of the pre-existing, everlasting ocean of Nun, the infinite, thick darkness in which Atum lay dormant, and out of which the world-order emerged. This thick darkness is the primordial, passive matrix out of which bi-sexual Atum, by his own effort, awoke. The Midnight Mystery involves, by seeing & entering the mummy of Osiris (assuming the death posture), a secret merging of Re with his pre-creational origin. By seeing everlasting darkness, one jumps to one's true nature, and so consciousness is fully replenished.

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First Hour - note the absence of the Solar Bark in the upper middle register
sarcophagus chamber of the tomb of Pharaoh Amenhotep II - ca. 1400 BCE.

The long title of the Book of the Hidden Chamber begins with : "writings of the hidden chamber". This is the first completely illustrated book in recorded history, for visual elements, like sequences of drawings and textual material form a solid unity. The book is divided in 12 Hours along the nocturnal arc of the Sun, from dusk till dawn. Each hour, except the first, has a horizontal heading summarizing its significant events, use and direction. A vertical introduction, dividing the hours, mentions the names of the hour, their gateways and areas of the Duat. Only the first three hours have concluding texts. Retrograde writing is preferred, and representations are mostly to be read in reverse. Each hour is divided in three registers. The middle one depicts the Solar Bark, center stage in the storyline. The upper and lower registers represent the left & right banks of the netherworldly Nile. At times the registers interlace. All these changes are part of the sacred geometry and its spatial semantics directly influencing, as in a strip, the intended meanings.

In addition to the long version of the text, a short version or summary is found in the tombs and on papyri, called by Maspero (1893) and Jéquier (1894) "abridged", from "sehuy", "summary". In it, important names on the individual hours are listed and further remarks on their usefulness. It contains no pictures and is appended to the book as a kind of concluding chapter.

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§ 3

Form has a distinct purpose : to facilitate the transitions of meaning. The central theme of the Books of the Duat is the renewal of Re by regeneration & ascension. The framework of the Amduat presents this theme in a highly organized way. In no other book, the Book of Gates excepted, does the fusion between the Ba or soul of Re and the corpse or mummy of Osiris dominate all text/image structures. In the Book of Gates, meaning is infused with the role of the divine king. In the Amduat, hours, registers & scenes explain and depict a series of operations, in which the deities and the deceased are differentials in the process of the Midnight Mystery. The host of deities & justified ancestors (deified humans) are personifications, metaphors, transformations or faces of the "nature" of Nature, and this in the form of image/text distinctions sprang out of human nature (Wheeler, 2002, p.21).

The naturalistic approach of the New Solar Theology (symbolized by the course of Re) contrasts with the mystical inclinations of Amenism and its theology of divine will and personal piety. It links with the Heliopolitan theology of the Old Kingdom, except for the latter's relational (constellational) view on the differentials of nature (each deity also having own-form) and its focus on the divine king instead of Re. Here, the faces of Nature serve the purpose of the sole and unique creator-god, Re, of which they are theophanies. The ultimate mystery (or secret) happened only once a day, namely in the 6th Hour of the night, while dawn was the expected outcome.

The subdivisions of deities and ancestors aim to refine the process of renewal, and so all textual & visual elements of the "hidden chamber" become equations or conceptualized coordinations of movement, as it were practical referential concepts. When lined up, they depict the grand ritual of renewal, the formal gestures of divine ritualists, performing the central ritual of the Osirian-Heliopolitan faith : outside creation lies a superabundant sea of possibilities but life-inimical forces (Nun), hiding the capacity to self-create (Atum), and therewith the potential to renew, rekindle, replenish and rejuvenate the living order. Osiris can not give this, but he creates the conditions (the mysterious image of the Duat) to get there (cf. Re assuming the death posture). To harvest this tremendous power, Osiris had to be "seen", for his endurance is everlasting. Indeed so powerful was this encounter, that even Re, who merges with Osiris, is rekindled ... Osiris never leaves the Duat, and even endures after the destruction of creation !

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"He who sees the dead Osiris will never die."
Coffin Texts, Spell 1050.

§ 4

In the other Books of the Duat, the themes of the nocturnal journey of the Sun and his mysterious renewal are also present, but the process is not detailed.

BOOK OF GATES

Hornung (1999) gives as date of origin the Amarna Period. Pharaohs Horemheb and Ramesses I placed it in their sarcophagus chamber. The earliest complete and continuous version is on the alabaster sarcophagus of Pharaoh Seti I. Ramesside Egyptians considered spells 144 & 145 of the Book of the Dead as a non-royal substitute for the Book of Gates. The title is not attested and in no other book are the gates of the Duat so systematic and manifest as here. Each gate has one guardian-serpent and two menacing guardians with fire-spitting Uraei.

Netherworldly gates are found as early as the Pyramid Texts (in the Pyramid of Khufu, the two shafts in the Ka-chamber, used in the ascent of Pharaoh to the sky, are sealed with doors bearing copper handles). They are attributed to Osiris and represent the knowledge necessary to resurrect and be reborn. Without the proper knowledge, access was impossible. In the Heliocentric Amduat, the gates are removed because the natural cycle of Re is all-important, not the protective magic involved (the many references to Pharaoh in the Book of Gates underlines its rather Osirian inspiration). Here, the magical keys are crucial.

The nocturnal journey of the Sun is divided in 12 gates ("sebekhet"), depicted at the end of each hour. In the Solar Bark, only Sia ("understanding") and Heka ("magical power") accompany Re. The cabin of Re is always surrounded by the Mehen-serpent, and four figures tow the barque. The judgment hall of Osiris is depicted in the fifth gateway, immediately before the union between the Ba of Re and the mummy of Osiris, the recurrent theme and emblematic of the Midnight Mystery. By letting him accompany Re to his rebirth at dawn, the special status of Pharaoh is underlined.

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BOOK OF CAVERNS

The earliest, nearly complete (but today destroyed) version appeared in the upper register of the Osireon of Pharaoh Seti I, and occupied the left wall of the entrance corridor, opposing the Book of Gates. It was not often used, and the only almost complete exemplar adorns the tomb of Ramesses VI, again displayed opposite the latter.

The original title is lost. There is no division into the regions of the night. A division in two halves with a subdivision in three section is likely. The Solar Bark is absent and replaced by the Solar Disk, absent in the first two sections. Scenes of damnation and punishment are reserved for the lower register.

The crucial theme of the first half of the book, is the encounter of Re with the mummy of Osiris "in its coffer". In the third section, Re enters the "cavern where Aker is".

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BOOK OF THE EARTH

This title was chosen by Hornung (1999). Piankoff had "The Creation of the Sun Disk", and Altenmüller "Book of Aker". The original title is missing. There is no division into the hours and the Solar Barque is largely absent. The division in registers is uncertain. The book is exclusively found in the sarcophagus chambers of royal Ramesside tombs.

Osiris "in his coffer" again plays the leading role, as does the transformation of Re and an expanded version of the eleventh scene of the Book of Gates and its "barque of the Earth".

BOOK OF THE NIGHT

The earliest version is found on the ceiling of the sarcophagus chamber of Pharaoh Seti I, but it only reaches the ninth hour. Only the tomb of Ramesses VI provides us with two complete versions. It is divided in 12 sections separated from one another by vertical lines called "gates", which precede the hours to which they belong.

In the Solar Barque, Re is surrounded by the Mehen-serpent and the crew consists of Sia at the prow, Hu at the stern and Maat. Descriptive texts are lacking, and the registers are not divided into scenes. The crucial motif of the union of Re and Osiris is absent.

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§ 5

In the Old Kingdom, only the divine king was reborn (Osiris, burial-chamber and serdab) and illuminated (Re, antechamber and corridor). In the Middle Kingdom, everybody had a principle of deification (a Ba turning Akh in the afterlife). Commoners headed to Osiris, the royals with their retinue to Re. As in the Old Kingdom, Osiris was a necessary condition but not sufficient, albeit only for the elite. They wanted to ascend to Re's Field of Peace. The vast majority could dream of the Field of Reeds of Osiris. In the New Kingdom, Re was being transformed and the king accompanied. Here, his role had become secondary. The survival of the creator-god primary. These important changes happened within the stable boundaries of the two-fold Ancient Egyptian model of salvation mentioned above, inviting the complementarity of a two-tiered heaven :

VIA THE MOON : the (lower) sky of Osiris : the ultimate state of human blessedness is to live the life of an "Osiris NN", with a court, humbling servants and a kingdom situated in the vast darkness of the Duat (like creation is a bubble of moist air suspended in chaos). Even the smallest offer made with a sincere heart during earthly life might be enough to be helped by Isis or Osiris, and so the commoners made sure the holy family would notice them. This economy is inclusive of everyman, but conditional, except for the divine king. Corresponds with the Left, Restored Eye of Horus ;

ENDING IN THE SUN : the (upper) sky of Re : the sky of Osiris and the sky of Re are proximate, and after the highest spirituality of servitude has been fulfilled, the "Ba" of the deceased is transformed, in the horizon, into an "Akh" of Re, sailing, among the other pure beings of light, on the Bark of Re or in his retinue, illuminating the beings of day and night, including the deities and the justified blessed dead of Osiris (who otherwise sleep). The sacred knowledge regarding this spiritual evolution was for the very few and, when first written down (cf. the Pyramid Texts and the Amduat), portrayed in the tomb of kings only. This economy is exclusive of everyman, reserved to the deities (as the king and his high priests) and unconditional. It corresponds with the Right Eye of Re.

The scattering revolution of Akhenaten (ca. 1353 - 1336 BCE), stressing the solitary, singular Aten and denying Osiris and the "hidden" Amun, heralded the beginning of historical "Egyptian-styled" monotheism. Short-lived in Egyptian culture, but soon turning subcultural, it triggered the heroic return of the constellational pantheon, with Amun-Re (consciousness), Thoth (mind) and Ptah (body) working as a divine trinity (preluding Christian Trinitarism of Father, Son & Holy Ghost). The Ancient Egyptian elite was henotheists and remained so. God is "hidden, one & millions". Each divine face (god or goddess) is a divine manifestation or theophany of Amun-Re. He is all, before all (preexistent) and beyond all (transcending). His essence is truly hidden. Although of multiple manifestations, he always remains himself. Unlike the singular, sole monotheist Atenite Godhead, henotheist Divinity or Amenism is a pluralism-under-unity, a pluritheism unlike polytheism. The latter looses the notion of the interrelatedness of the epiphanies, i.e. the essential oneness maintained by henotheism.

[frater H]

Treatise of the Hidden Chamber,
the positions of the Ba-souls,
the gods,
the shadows,
the Akh-spirits,
and what is done.

The beginning is the horn of the West,
the gate of the western horizon,
the end is thick darkness,
the gate of the western horizon,
to know the Ba-souls of the Duat,
to know what is done,
to know their spiritualization for Re,
to know the secret Ba-souls,
to know what is in the hours and their gods,
to know what he calls to them,
to know the gates
and the ways upon which
the great god passes,
to know the courses of the hours
and their gods,
to know the flourishing and the annihilated.

Long Title of the Amduat



King Tuthmosis III
ca. 1479 - 1426 BCE.
Deir El-Medina - Cairo Museum


Summary of this book.

"The beginning is the horn of the West ;
the end thick darkness."

First Hour

This god enters into the Earth,
through the gateway of the western horizon.
It is 120 cubits to journey over this gateway,
before he reaches the gods of the Duat.

"Waters of Re" is the name of the first realm of the Duat,
where he assigns fields to the gods following him.
He begins to give orders,
and to take care of those of the Duat in this field.

It is executed like this original,
in the secrecy of the Duat.
He who knows these images is like the great god himself.
It is beneficial to him on Earth ; a true remedy.
It is beneficial to him in the Duat, immensely.

"Smashing the foreheads of the enemies of Re"
is the name of the first hour goddess of the night,
who guides this great god in this gateway.

[frater H]

Second Hour

Setting afterwards by this great god in Wernes.
309 cubits is the length of this region,
120 cubits (its) breadth.

"Ba-souls of the Duat" is the name of the gods who are in this region.

As for him who knows their names, he will be among them.
This great god will assign him fields,
at their place from the region of Wernes.
He will pause together with the pausing one (Re),
and he will process behind this great god.
He will enter the Earth and he will open the Duat,
he will cut off the locks of the "Braided ones".
He will pass by the "Donkey-swallowers" behind the Maat of the plot.
Always will he eat bread in the bark of the Earth,
and will be given the prow-rope of the Sun bark.

These Ba-souls of the Duat are done in painting,
in their forms in the secrecy of the Duat,
the beginning of the writing towards the West.
Offerings are made to them on Earth in their names.
It is beneficial to a man on Earth,
a true remedy, (proven) millions of times.
He who knows these words which the gods of the Duat speak to this god,
and the words this god speaks to them,
is one who will approach to those of the Duat.
It is beneficial to him on Earth,
a true remedy, (proven) millions of times !

The name of this hour of the night
who guides this god in this region is :
"The wise who protects her master".

Third Hour

Setting afterwards by the Majesty of this great god
in the fields of the shore-dwellers,
rowing by this god on the water of Osiris.
309 cubits is the length of this field, 120 the breadth.
This great god gives orders
to those who follow Osiris at this place.
He assigns plots to them at this field.

"Mysterious Ba-souls" is the name of the gods who are in this field.
He who knows their names on Earth,
will approach the place where Osiris is.
Water will be given to him at this his field.
"Water of the Unique Master, which brings forth offerings" is the name of this field.

These secret images of the mysterious Ba-souls have been made in this form,
which is painted in the secrecy of the Duat,
the beginning of the writing to the West.
It is beneficial to a man on Earth,
and in the necropolis ; a true remedy.
He who knows them, will pass by them,
he cannot perish from their roaring,
and cannot fall into their pits.
Whoever knows them, belongs to the places,
his offering cake at (his) face, together with Re.
Whoever knows them is an efficient Ba-soul,
master over his two feet,
who will not enter the place of destruction.
He will always go forth with his forms,
as one who breathes air at his hour.

The name of the hour who guides this great god in this field is :
"She who cuts Ba-souls".

[frater H]

Sixth Hour

Setting by the Majesty of this great god
into the depths of the waterhole of those of the Duat.
He gives orders to the gods who are in it,
he orders that they take hold of their divine offerings at this place.
He proceeds in this, equipped with his bark,
he assigns to them their plots for their offerings.
He gives to them water from their waterway,
when passing the Duat, day after day.

The name of the gate of this place is : "With sharp knives".
The mysterious path of the West,
whose water this great god traverses in his bark,
to care for those of the Duat.

Registered in their names,
known in their bodies and carved in their forms are the hours,
mysterious in (their) state,
without this secret image of the Duat being known by any person.
This image is painted in this way,
in the secrecy of the Duat,
on the southern side of the Hidden Chamber.

Whoever knows it will belong to the offerings in the Duat,
he will be satisfied with the offerings of the gods following Osiris,
offerings will be given to him and his family in the Earth.

Orders are given by the person of this god,
to present divine offerings to the gods of the Duat.
When he pauses by them, they see him,
and take possession of their fields.
Their offerings, they emerge by order of this great god.

"The depths, waterhole of those of the Duat" is the name of this field.
It is the path of the bark of Re.
The name of the hour of the night
guiding this great god in this region is : "Arrival that gives the right (way)".

Seventh Hour

Resting by the Majesty of this great god in the cavern of Osiris.
Giving orders by the Majesty of this (great) god
at this cavern to these gods who are in it.
This god takes another form at this cavern,
he confounds Apopis from the way,
through the magic of Isis and the Eldest Magician.

The name of the gate of this place
which this god passes by, "Gate of Osiris" is its name.
The name of this place is : "Mysterious cavern".

The secret path of the West,
upon which this great god passes in his unapproachable bark.
He proceeds on this way,
which is without water, and without the possibility of towing.
He sails by the magic of Isis and the Eldest Magician,
and by the magic power on the mouth of this god himself.
The slaughtering of Apopis is done in the Duat at this cavern,
his place however is in the sky.

It is painted in this way,
on the northern side of the Hidden Chamber in the Duat.
It is beneficial for whom it is made,
in heaven and in Earth.
Whoever knows it is one of the Ba-souls with Re.
Executed are these magic spells of Isis and the Eldest Magician,
which they perform as a repelling of Apopis from Re in the West.
It is done in the secrecy of the Duat,
and it is done on Earth likewise.
Whoever knows it will be in the bark of Re,
in heaven and in Earth.
It is simple to know this image,
but who does not know it cannot repel "Horrible of Face".

As for this sandbank of "Horrible of Face" in the Duat :
it is 450 cubits in its length,
and he fills it with his coils.
His slaughter is made against him,
without this god passing by him,
when he makes his way around him at the cavern of Osiris.

This god passes along in this place,
in the image of the Mehen-serpent.
Whoever knows it on Earth, "Horrible of Face" cannot drink his water.
The Ba-soul of him who knows it cannot perish,
through the violence of the gods who are in this cavern.
Whoever know it will be one whose Ba-soul the crocodile will not swallow.

The name of the hour of the night,
guiding this great god in this cavern is :
"She who repels the Evil One and slaughters 'Horrible of Face'".

Eighth Hour

Resting by the Majesty of this great god,
at the caverns of the mysterious gods who are upon their sand.
He gives order to them from his bark to his gods who tow him,
in the protecting embrace of the Mehen-serpent.

The name of the gate of this place is : "Standing without getting tired".
The name of this place is : "Sarcophagus of her gods".

The mysterious caverns of the West,
which the great god passes in his bark,
being towed by his gods who are in the Duat.

This is done like this image which is painted,
on the northern side of the Hidden Chamber in the Duat.
Whoever knows them by their names,
will have clothing in the Earth,
and will not be repelled from the mysterious gates.
He will be fed at the great tomb ; a true remedy.

The name of the hour of the night guiding this great god is :
"Mistress of the deep night".

[frater H]

Ninth Hour

Resting by the Majesty of this great god in this cavern.
He gives orders from his bark to the gods who are in it.
The crew of the bark of this great god (also) rests at this place.

The name of the gate of this place,
through which this great god passes,
that he sets upon the waterway, which is in this place, is :
"Guardian of the flood".
The name of this place is : "With images flowing forth".

The mysterious cavern of the West,
where this great god and his crew rest in the Duat.
These are done with their names,
like this image which is painted
on the eastern side of the Hidden Chamber of the Duat.
Whoever knows their names on Earth,
and knows their thrones in the West,
will occupy his throne in the Duat,
standing among the "Lords of Provision",
and declared "justified" by the tribunal on the day of judgement.
It is beneficial to whoever knows it on Earth.

The name of the hour of the night
guiding this great god in this cavern is :
"She who adores and protects her Lord".

Tenth Hour

Resting by the Majesty of this great god in this cavern.
He gives orders to the gods who are in it.

The name of the gate of this place through which this great god passes is :
"With great manifestations, giving birth to forms".
The name of this place is : "With deep water and high banks".

The mysterious cavern of the West,
at which Khepri rests with Re,
at which gods, Akh-spirits and the dead lament
because of the mysterious image of the Beyond.

This is done like this image which is painted,
on the eastern side of the Hidden Chamber of the Duat.

Whoever knows them by name,
traverses the Duat right to the end,
without being repelled from "The lights of the sky" with Re.

The name of the hour of the night
guiding this great god to the mysterious paths of this place is :
"The furious, who slaughters him with crooked heart".

[frater H]

Eleventh Hour

Resting by the Majesty of this great god in this cavern.
He gives order to the gods who are in it.

The name of the gate of this place,
through which this great god passes is :
"Resting place of those of the Duat".
The name of this place is : "Mouth of the cavern which examines the corpses".

The mysterious cavern of the Duat,
through which this great god passes,
to come out from the eastern mountain of heaven.

Time swallows her images
in front of the seer who is in this place.
She gives them (back) afterwards
for the birth of Khepri in the Earth.

This is done in this form,
like this image which is painted,
in the secrecy of the Duat,
on the eastern side of the Hidden Chamber.

Whoever knows it, participates in offerings as a well-provided Akh-spirit,
in heaven and in Earth ; a true remedy.

The name of the hour of the night
guiding this great god in this cavern is :
"Starry, Lady of the Bark, who repels the enemy when he appears".

Twelfth Hour

Resting by the Majesty of this great god in this cavern
"End of the thick darkness".

This great god is born in his manifestation of Khepri at this cavern.
Nut and Naunet, Hehu and Hehut, emerge at this cavern
at the birth of this great god,
that he comes out from the Duat.
He places himself in the day-bark,
and appears from the thighs of Nut.

The name of the gate of this place is :
"That which raises the gods".
The name of this place is : "With emerging darkness and appearing births".

The mysterious cavern of the Duat,
at which this great god is born,
that he comes out from the Nun,
and that he sets at the body of Nut.

This is done like this image which is painted,
on the eastern side of the Hidden Chamber of the Duat.
It is beneficial for whoever knows it
on Earth, in heaven and in the Earth.

Closing Text

The beginning is light,
the end thick darkness.

The course of Re in the West,
the secret plans which this god brings forth in it,
the excellent guide, the secret writing of the Duat,
which is not known by any person, save a few.

This image is done like this,
in the secrecy of the Duat,
unseen and unperceived.

Whoever knows this mysterious image will be a well-provided Akh-spirit.
Always will he leave and enter again the Duat,
and speak to the living.

A true remedy, (proven) a million times !

[frater H]

The Twelve Hours : A Commentary



Burial chamber of the tomb of Pharaoh Tuthmosis III - ca. 1426 BCE.
On the walls, the Twelve Hours of the Book of the Hidden Chamber.

"Thus, the journey of the Sungod can also be seen as a symbolic representation of an inner psychic process of transformation and renewal."
Hornung & Abt, 2003, p.9.

Insofar as the "Ba of Re" is the effective, dynamical, motoric power of Re and Re is identified with the bright clarity of consciousness or sentience, his night-journey can be reconstructed as the process of clarification in the absence of light (what Re does in the Duat), of inner vision (the mummy of Osiris) and regeneration (rekindling) in the utter deep, dark desolation of the 4th to 6th Hour, of transformation (Khepri) & rejuvenation (by time-reversal) and of rebirth or reappearance (as Horus the Child on the Eastern horizon). The stages of this process run parallel with the three phases identified earlier as the three stages of the Upper Paleolithic cave mysteries :

"the entry" : the tunnel into the mountain : the process of differentiation from light to darkness : this corresponds with the First Phase (the West), digging into darkness, depleting sentient power to its utter limit ;

"the sanctum" : the rock cathedral in which the shamans dance : the secluded place of the mystery of the hidden light : this corresponds with the Second Phase (the South), and the Midnight Mystery, involving (a) the mummy of Osiris seen in the desert of Sokar & (b) the union of the Ba of Re with the corpse of Osiris (Re assuming the death posture) ;

"the return or exit" : returning to the outside world transformed : the process of integration from darkness to light : beginning slowly in the North (7th & 8th Hour), more momentum is gained in the East (9th to 12th Hour). Transformed (Khepri) and rejuvenated (Mehen-serpent), consciousness is refreshed to the point of being like that of a powerful youth, fully aware & radiant.



the Hours and their directions in the burial-chamber of Tuthmosis III

Although in the text the 12 hours are distributed in tune with the cardinal directions, only Tuthmosis III followed this scheme. Following these orientations, we arrive at an ideal rectangle, with Hours 1-4 in the West, 5-6 in the South, 7-8 in the North and 9-12 in the East. This rectangle reminds of the standard form of the Sed-festival court, used in one of the most important events of a king's reign : the Sed festival.

[frater H]

comparison between different enclosures or Sed-festival courts
Abydos (Djer), Hierakonpolis temple, Abydos (Khasekhemuy), Netjerikhet

The Sed festival was an occasion for renewal "of kingly potency and the reaffirmation of the divine descent of the king and thus the confirmation of his right to the throne." (Serrano, 2002, p.43).

During this festival, the divine king would perform the Sed festival dance, the running of the ritual course before an assembly of deities. He ran round a track four times as the ruler of the South and four times as the ruler of the North. This ritual run proved he was fit to rule the Two Lands. On both East and West sides of the Sed-festival court were shrines dedicated to provincial deities, and the throne of the divine king stood on a platform at the southern end of his own "court of appearance", adjacent to the Sed-festival court (cf. the Netjerikhet complex).

In the Amduat, as New Kingdom theology demands, Re and no longer the divine king stands center stage. But his ordeal, namely reversing the depletion of his power at the end of the day, is identical to the Pharaoh seeking rejuvenation. Re moves from West (where he sets, eaten by Nut) to East (where he reappears out of her thighs). Functionally, this half-circle or nocturnal semiarc is defined as a rectangle, involving two "jumps", one between the 4th & the 5th Hour (placing the latter beside the 12th Hour), and one between the 6th & the 7th Hour :

transversal jump between the 4th and 5th Hour : arriving at the deepest, darkest point (the end of the 4th Hour), attention is brought on the process of regeneration itself (the 5th & 6th Hour). In the 4th, Re cannot be more powerless, for he cannot see those he cares for, relying on his voice alone. The actual process of self-regeneration is initiated in the 5th Hour of the night ;

linear jump between the 6th & the 7th : the regenerated Solar Ba "jumps" the sequence of the first four hours (the western wall), as it were "reversing" them. Re confronts his enemy in the 7th Hour and can then proceed to finalize his forthcoming appearance, involving putting on "new clothes", entertaining a renewed vision and being rejuvenated by time-reversal.

Each jump brings a fundamental change in direction, meaning & intent. Each is fragile, calling for prudence and involving great dangers. As both 4th & 5th Hour are emphasized (some passages are in cryptographic script, the registers partially cross, and the Solar bark, of serpentine form, is being towed), we may assume the first jump, involving the transverse crossing of the sarcophagus room, is the most dangerous of the two. In the 7th Hour, Apophis tries to destroy what was gained in the 6th Hour, but, thanks to Isis and the Eldest Magician, namely Seth, fails without ado. In the 5th Hour however, the darkness entered in the 4th Hour makes way for crucial preparations culminating in the 6th Hour, when the Midnight Mystery of this Ars obscura is at hand.

The captions are arranged in three registers, with the Solar bark, the "barque of the millions" in the middle. This representation is suggestive of the river Nile and its two banks crowded with "shore-dwellers", greeting Re on his bark, blessed by his swift appearance. The shore-dwellers are the blessed spirits (of Osiris), the pantheon, the ancestors and the noble dead. While the upper register depicts general phenomena, the lower introduces motifs specific to the region of the hour. In all cases, the middle register holds the central theme, involving the Solar boat and its immediate environment. In the later Book of Gates, the Solar bark is towed in each of the 12 hours, while here this only happens in the 4th, 5th, 8th and 12th Hour, events integrated in the momentum of the netherworldly process of Solar regeneration.

At dusk, the Ram-headed Ba, the inner, executive power of Re, enters the Duat (the word for "ram" -or Ovis longipes palaeoaegypticus- is also "bA"). The soul of Osiris was thought to reside in the sacred ram "Ba-neb-djedet", worshipped in the Delta town of Mendes. Although "old", Re is glorious and triumphant. The good citizens of the Duat rejoice when they see him (while Re's enemies do not participate), for seeing Re is being. In each hour, except in the dark 4th Hour, Re communicates with the deities and blessed deceased. For these glorious dead, one hour with Re is experienced as a lifetime ... They awaken when they see him and slumber when he leaves. In this state, they barely exist at all, and are reborn when Re passes by again.

[frater H]

Phase I : The Entry
the West : The Deepening of Darkness

1.1 The 1th Hour :

In the 1th Hour, Re speak the following words to the gods of the Duat :

"Open your gates for me !
Open wide your gateways for me !
Illuminate for me what I have made !
Guide me, ye who came forth from my limbs !
Indeed, I commended You to my corpse !

I made You for my Ba-soul.
I created You for my magic power.
I have come that I may greet myself with myself,
that I let my limbs breathe when they rise.
I exterminate him who acts against it.
I cause Osiris, Foremost of the Westerners, to breathe as the secret image.
Baboons, open for me your arms !
Spread wide your gates for me, baboons !"
Amduat, 1th Hour, 151 - 156.

Name of the Hour : "Waters of Re" ;
Name of the goddess : "Smashing the foreheads of the enemies of Re" ;
Structural features : parallel registers, double middle register, Grand Chorus, two Solar boats ;

The overall structure of the hour is very balanced. Although Re is "entering the West", we see how his command is regal. The Double Maat guides Re on the way of darkness. The beings of the Duat greet Re with jubilation. Upper and lower registers have identical subdivisions, suggestive of a Grand Chorus greeting the Sungod.

As a Ba-soul Re enters the night, knowing his way in the darkness of the night to his rebirth at dawn. During this period, his continues to care for the beings of the hours and for himself. This cycle of Re is recurrent. He does it since the eternal First Time, when Atum self-created. Beneath the boat of the aged Sungod is the bark of the resurrected Sungod, represented by the scarab or beetle Khepri, symbolizing the upcoming renewal, adored by two kneeling figures of Osiris.

Main visual semantic : antechambers of the Duat : Re at dusk and dawn ;

Because of the largely static Grand Chorus, the main action is given in the double middle register, suggestive of "begin" (the old Re) and "end" (the resurrected Re) of the Duat.

[frater H]

This first hour is a kind of antechamber of the Duat, an interstitial realm or twilight zone between dusk and Re's visual absence, namely when Re has been totally "eaten" by Nut, displaying her dark, starlit body. The journey begins in order to end. The cycle is eternal, its repetition divine. The beginning alludes to the end, when all is completed. Beginning and end of the process of transformation are to be considered together. The "neheh"-time of Atum-Re is not everlastingness, i.e. the eternal "ground", "base" or "foundation" of everything (Nun, associated with Osiris and the Duat). "Neheh"-time is the eternal, recurrent cycle of Atum-Re, with its day (Book of the Day) & night (Book of the Night, Books of the Duat). At night, Re regenerates.

The 1th Hour brings out the function of the Duat as a whole, namely regeneration by conjunction with the First Instance. It also represents a preliminary period before entering the total darkness of the Duat. Before crossing the border between the 1tht Hour and the Duat proper, a preparative stage is necessary (cf. twilight and falling asleep). At the First Instance, like Khepri, Atum self-created. The beetle plays a central role in the process of regeneration, as it were pointing to the core of the process itself : Atum autogenitor, i.e. "Atum-kheperer".

By a step-by-step encounter with the beings and processes of the Duat, consciousness (Re) is renewed. The Solar bark itself represents the concrete concept enabling one to traverse the unconscious waters (Nun) in which consciousness is afloat (Atum-potential of Nun or "Ba of Nun"). The Solar boat allows consciousness to gather and be self-contained, functioning properly. Without it, it would drown and be lost in the vast expanse of the thick darkness of Duat, as it were rooted in everlasting Nun.

1.2 The 2th Hour :

The gods of the Duat speak the following words to Re :

"O ! Appear, great Ba-soul !
The Duat has received the flesh belonging to heaven.
You are now living, flesh, in the Earth which is protected for You.

Come indeed, Re, that You live in your name (of) "Living One",
Khepri, Foremost of the Duat !
You traverse the fields, protector,
You bind the Hiu-serpent, and You strike "Horrible of Face" !

Joy and jubilation are in the Earth to (You) who uncovers his corpse.
Shine great illuminator ! (...)
Be radiant You (Uraeus-serpent) on the head of Re !
Drive away the darkness in the hidden realm
in your name "He who chases him away with the secret arm".
Illuminate thick darkness, that the flesh may live and be renewed by it !"
Amduat, 2th Hour, 218 - 230.

[frater H]

Name of the gods : "Ba-souls of the Duat" ;
Name of the goddess : "The wise who protects her master" ;
Structural features : Re's flotilla arrives in the Duat, no Solar Disk ;

Instead of a single boat, five boats are depicted. The activity of the Sungod expands, touching all netherworldly beings. The lower register pictures the beings ensuring the agricultural year : inundation, sowing and harvest. Other beings carry ears of corn and they assign plots to land to the followers of Osiris, the "peasants of Wernes" ;

Main visual semantic : fertile waters carrying the Offering Barks of Re ;
Theme : the power of the Sun activates the Duat.



Drawing by A.G. Shedid (digitally enhanced) - Hornung (1999).

The actual netherworldly journey begins with the 2th Hour, when the actual Duat is entered. Apparently, Re never travels alone, for his bark is always part of flotilla, carrying provisions and magical signs. These assist him and show how he Re is well-prepared for the extraordinary states of consciousness represented by the Sungod entering darkness and being at work there. It points to a depth-psychological dimensions avant la lettre, one established by way of concrete concepts, not abstractions. Hornung & Abt (2003) were the first to identify the salient features of this remarkable process invoked by this Ars obscura of Re.

The bark of the Sungod is headed by Isis & Nephthys, represented by two serpents, while the Sungod has no longer a Solar disk on his head. He has entered the darkness ruled by the Moon.

Indeed, in this hour, the light of the Moon has become visible (cf. the last boat, with a crescent Moon disk and the feather of Maat). Maat can also be seen at the beginning of the upper register, indicative of the fact the Duat contains ordering forces regulating the renewal of the effective power (Ba) of Re. Moreover, the regeneration of the year (the cycle of the Sun) calls for 12 renewals of the Moon, just as the nightly journey of the Sungod till his resurrection takes 12 hours. Hence, annual, monthly & daily rhythms are interlinked.

A flotilla of offerings are seen. Re assigns land to the blessed dead, the peasants of Wernes, the watery expanse. Many deceased need to be fed and nurtured by his depleting powers. Despite Re is on a descendant slope, he nevertheless fulfills his eternal task. They rejoice in what they receive, namely Re's presence. Because of this, they are kindled. Without him, they slumber. This metaphor reminds of the state of Osiris before Horus brought him his renewed Left Eye. He was weary, inactive and in agony. Although resuscitated (by Isis & Thoth), he was not yet fully regenerated, transformed or resurrected. Only after receiving the Eye of his son Horus, who, in tune with the sapiental discourses (of for example Ptahhotep), therefore becomes more powerful than his father, does Osiris become King of the Duat. Indeed, Horus can leave the Duat (Osiris never does) and becomes King of the Two Lands.

The Sungod pays attention to what happens in the Duat and dialogues with the fertility-deities. This points to their mutual interdependence. Consciousness (Re) enters the Duat of darkness & unconsciousness (Osiris). Although this "other side" is out of reach, but not devoid of energy, communicating with it offers a complete renewal of one's elements.

1.3 The 3th Hour :

The mysterious gods of the Duat speak to Re :

"Come to us, You whose flesh is being towed,
and who is guided by his own body,
interpreter of the Duat, Lord of Breath,
whose body speaks, who provides for his life !
Your Ba-soul appears and your power flourished.
Your two Maat-goddesses guide You on the way of darkness.
The sky belongs to your Ba-soul, the Earth to your corpse.
The unique one rises up for You,
alone at the two-rope which the jackals moor.
The arms of the Westerners receive You
in your protected form of 'Old Man'.
How beautiful is it, that the Westerners can see,
how satisfying it is, when those of the Duat can hear Re,
when he sets in the West,
when his light is put into the region of dark images.
Come indeed to us, Re of the horizon,
Gold Khepri, seed of the gods !
You sail by the banks of the Duat,
You traverse your hidden fields,
and You make transformations in that your Earth !"
Amduat, 3th Hour, 313 - 320.

Name of the Hour : "Water of the Unique Master, which brings forth offerings" ;
Name of the gods : "Mysterious Ba-souls" ;
Name of the goddess of the Hour : "She who cuts Ba-souls" ;
Structural features : middle register is still waterway, Re is absent ;

Like in the 2th Hour, the middle register "floats" on the Nile. Here, the metaphysical root of the fertile waters of the previous hour is addressed, for the Nile is born in the Duat, hence "Water of the Unique Master", i.e. Osiris. These deep causes are powerful ("Ba") & mysterious.

Main visual semantic : the "Water of Osiris", a Solar bark without Re, images of the Sungod, flotilla has mutilated figures ;
Theme : the fragmentation of Solar power, loss of borders and inertia.

[frater H]

Drawing by A.G. Shedid (digitally enhanced) - Hornung (1999).

The flotilla-theme of the second hour is continued, but extended to the mythical root of the Nile and its inundation, namely the notion the Nile originated in the Duat, reaching Egypt at Elephantine, which had Khnum as its chief deity (first deity of lower register). The lower register continues on this theme, invoking divine kingship (White & Red Crowns) and Orion (a stellar form of Osiris), connected with the beginning of the inundation, providing Ancient Egyptian civilizations its natural source of surplus and power. The upper register reveals the magic to cause the inundation, for these deities are "Grinding the enemy and letting Nun come into existence, making the Nile inundation flow and the storm go forth from the Earth beneath them." (Amduat, 3th Hour, 281 - 283). Indeed, the movement of the figures in the upper register is unidirectional, nothing being able to stop the inundation of happening.

There is no single barque of the Sungod. A central figure on the Solar Bark is missing. Re seems totally absent. The four boats represent four functional states of Re :

a Solar bark without Re : in the texts, Re is present in all four ships. But he cannot be clearly identified, each bark revealing part of his functional characteristics. Here, his centralizing role, made poignant by eliminating the icon of Re on the Solar bark, is emphasized ;

the Ram-headed one : dressed in a Sed festival short cloak, this figure points to Osirian rejuvenation, regeneration etc. Re (light) and Osiris (darkness) are intimately linked ;

the Radiant one without head : this mutilation of the central figure underlines the fragmentation of the unity of the Sungod, while this "baboon" bark may be suggestive of the role of divine thought ;

a Follower of Horus : originator of the royal dynasty, Re is the true King of the Two Lands, and Horus his representative on Earth (the closing "10th" factor completing the Ennead).

The differentiation has reached a threshold value beyond which no return to the previous order is possible. The creator-god has exhausted himself and needs a procedure to rekindle. Imminently, a radical change is going to take place. This will unveil the dreamlike, shape-shifting & time-shifting qualities of Re's experience in the Duat. At the end of this hour, Re reached an ultimate point of fragmentation. A reassembly is needed, introducing another "level" of the Duat. We move away from the familiar scenery of Re's flotilla peacefully entering the night, greeted by cheerful dwellers blessed by the mere sight of it. Like in a dream, we break away from the loose, familiar images emerging when falling asleep, and enter the domain of the dreamworld proper, which has its own set of "private" laws and conditions, introducing new degrees of freedom in terms of space & time. In a dream, changes may happen suddenly and introduce unexpected experiences. Likewise, in the next hours of the night, new dimensions of the Duat are entered, and Re faces his own fundamental auto-regenerative move.

[frater H]

1.4 The 4th Hour :

"The one belonging to Rosetau.
Secret paths of Rosetau. The divine gate
He cannot pass them, but it is (only) his voice which they hear.
Path entered by the corpse of Sokar-upon-his-sand.
Secret image which can neither be seen nor beheld.
Secret path entered by Anubis to conceal the corpse of Osiris.
Secret path of the edge of the Imhet."
The Five Texts in the Desert Path, 4th Hour, 352 - 353.

Name of the Cavern : "With living forms" ;
Name of the Gate : "Which hides the towing" ;
Name of the goddess : "The great one in the Duat" / "She who is great in her power" ;
Structural features : towed snake Bark, knives cutting registers, sarcophagus ;
Main visual semantic : desert of Rosetau, land of Sokar ;
Theme : darkness and silence : the ultimate isolation of Solar power.



cutting through the registers - Drawing by A.G. Shedid (digitally enhanced) - Hornung (1999).

The 4th Hour begins with an abrupt scene change. The Solar bark, transformed into a Serpent bark, is on a narrow stretch of water running in a vast desert, the Earth of Sokar "he upon his sand", the Lord of the mysterious ways of Rosetau. This desert is populated by gigantic serpent monsters.

The Sungod is back in his bark, as is the Sun disk upon his head (lost in the 2th Hour). If in the 3th Hour he had been absent from the scene, while the texts affirmed Re was on all four boats, now his icon is back, but the texts explain he cannot be seen ! A remarkable juxtaposition.

The scepter in Re's hand has changed. It too has become a serpent, indicative of his commanding power over the serpent world. To journey this dark hour, filled with all kinds of serpents, Re needs to control them. The zigzag "serpentine" path (cf. The Five Texts in the Desert Path) underpins the awkward motility of the Solar bark.

The region of Rosetau is linked with death and the god Sokar, a funerary form of Osiris, linked with mummification, entombment and the mysteries of the Duat (cf. the sarcophagi moving downwards). The secret, mysterious, hidden doors etc. remind of the devices found in the Book of the Two Ways (Coffin Texts, Spells 1029 to 1185). Knowing the proper names guaranteed full protection in the Duat.

"SPELL FOR THE PATHS OF ROSETAU.
These paths here are in confusion. Every one of them is opposed to its fellow. It is those who know them who will find their paths. They are high on the flint walls which are in Rosetau, which is both on water and on land."
Coffin Texts, Spell 1072.

"(...) I have opened up Rosetau that I may ease the suffering of Osiris ..."
CT, Spell 1079.

"This is the sealed thing which is in darkness, with fire about it, which contains the efflux of Osiris, and it is put in Rosetau. It has been hidden since it fell from him, and it is what came down from him on to the desert of sand. It meant that what belonged to him was put in Rosetau."
CT, Spell 1080.

In this hour, Re is repeatedly blocked by doors called "knife", cutting the way into pieces. Re utters words of power without seeing those he wakes up from their slumber of near-death, nor can they see him, for he turned into a dark Sun. In this deepest hour of darkness, Re can no longer see the inhabitants of the Duat. They hear him, but no one answers Re. Absence of light and silence overpower his soul.

Because of this thick darkness, his Left Eye has been injured, but it is protected by Thoth and "he who is upon his sand", Sokar himself, anticipating its healing. The old myth of the battle between Horus and Seth (with Horus loosing his Left Eye restored by Thoth) is transposed and placed at the preliminaries of the process of regeneration. Total darkness and silence (symbolized by Sokar) and knowledge of the words of power (symbolized by Thoth) accommodate the process of healing initiated. Renewal & rebirths are preluded by thick darkness & isolation. In Yoga, during dark retreat, parallel experiences & processes ensue.

At the end of the 4th Hour, another radical change occurs, for Re has to make a non-linear jump to enter the 5th Hour. The change of scenery introduced at the beginning of the 4th Hour acts as preliminary to a more radical alteration of experienced reality introduced with the 5th. For a sacred space is at hand, and a radical transition is about to occur.

[frater H]

http://sofiatopia.org/maat/hidden_chamber03.htm





Theme : summary of beginning and end of the Hidden Chamber.



Drawing by A.G. Shedid (digitally enhanced) - Hornung (1999).



Phase II : The Sanctum
the South : The Midnight Mystery

The process of Solar regeneration has three subphases :

4th Hour : entering Rosetau : preliminary : sensory deprivation, thick darkness, isolation ;

5th Hour : Rosetau proper : preparation : protected & controlled initiation ;

6th Hour : left Rosetau : completion : the actual process of transformation.

1.5 The 5th Hour :

"This great god is towed along the proper ways of the Duat,
in the upper half of the secret cavern of Sokar-upon-his-sand.
Invisible and imperceptible is this secret image
of the land which bears the flesh of this god."
Amduat, 5th Hour, 384 - 386.

Name of the Cavern : "West" ;
Name of the Gate : "Station of the god" ;
Name of the gods : "Ba-souls who are in the Duat" ;
Name of the goddess : "She who guides in the midst of her bark" ;
Structural features : towed snake Bark, Sundisk with Uraeus, Cavern of Sokar, sarcophagus ;
Main visual semantic : Cavern, Head, Lake of Fire, Burial-Mound ;
Theme : preparing for the Midnight Mystery : the protection of the process.



raising up in an oval, illuminating darkness
Drawing by A.G. Shedid (digitally enhanced) - Hornung (1999).

The opposites of fire (desert, Sokar) and water (the Lake of Fire) meet for the first time. The registers are not simply parallel (1th - 3th Hour) or cut (as in the 4th Hour), but actually interact and form one image. The functional components of the Midnight Mystery are put into place. The "athanor" or alchemical furnace is lit, but the transformation is not yet happening. After the preliminaries of the 4th Hour, extensive preparations are now called for. An integration at all levels is needed.

If the zigzag iconography of the 4th Hour anticipates the transverse "jump" between the 4th & the 5th Hour, designating the start of a meta-order within the process of Solar regeneration itself, then the rising of the "mountain" of Osiris from the lower registers upward may initiate forthcoming integration (from the Lake of Fire & the Cavern of Sokar in the lower register, to Isis in the middle register and the burial-mound of Osiris in the upper register). Continuity, circularity, continuation and interdependence are suggested.

"Secret way of the Imhet on which this god is towed.
It is the abomination of Nehes (Seth).
Gate of the West.
The secret way of the land of Sokar,
which Isis enters on, to be behind her brother.
It is filled with flames of fire from the mouth of Isis.
The gods, the blessed and the dead cannot proceed on it.
The secret way of the land of Sokar and the Westerners who tow this god,
upon which gods, the blessed and the dead do not pass.
It is filled with flames of fire from the mouth of the Wamemty-serpent."







http://sofiatopia.org/maat/hidden_chamber03.htm





Theme : summary of beginning and end of the Hidden Chamber.



Drawing by A.G. Shedid (digitally enhanced) - Hornung (1999).



Phase II : The Sanctum
the South : The Midnight Mystery

The process of Solar regeneration has three subphases :

4th Hour : entering Rosetau : preliminary : sensory deprivation, thick darkness, isolation ;

5th Hour : Rosetau proper : preparation : protected & controlled initiation ;

6th Hour : left Rosetau : completion : the actual process of transformation.

1.5 The 5th Hour :

"This great god is towed along the proper ways of the Duat,
in the upper half of the secret cavern of Sokar-upon-his-sand.
Invisible and imperceptible is this secret image
of the land which bears the flesh of this god."
Amduat, 5th Hour, 384 - 386.

Name of the Cavern : "West" ;
Name of the Gate : "Station of the god" ;
Name of the gods : "Ba-souls who are in the Duat" ;
Name of the goddess : "She who guides in the midst of her bark" ;
Structural features : towed snake Bark, Sundisk with Uraeus, Cavern of Sokar, sarcophagus ;
Main visual semantic : Cavern, Head, Lake of Fire, Burial-Mound ;
Theme : preparing for the Midnight Mystery : the protection of the process.



raising up in an oval, illuminating darkness
Drawing by A.G. Shedid (digitally enhanced) - Hornung (1999).

The opposites of fire (desert, Sokar) and water (the Lake of Fire) meet for the first time. The registers are not simply parallel (1th - 3th Hour) or cut (as in the 4th Hour), but actually interact and form one image. The functional components of the Midnight Mystery are put into place. The "athanor" or alchemical furnace is lit, but the transformation is not yet happening. After the preliminaries of the 4th Hour, extensive preparations are now called for. An integration at all levels is needed.

If the zigzag iconography of the 4th Hour anticipates the transverse "jump" between the 4th & the 5th Hour, designating the start of a meta-order within the process of Solar regeneration itself, then the rising of the "mountain" of Osiris from the lower registers upward may initiate forthcoming integration (from the Lake of Fire & the Cavern of Sokar in the lower register, to Isis in the middle register and the burial-mound of Osiris in the upper register). Continuity, circularity, continuation and interdependence are suggested.

"Secret way of the Imhet on which this god is towed.
It is the abomination of Nehes (Seth).
Gate of the West.
The secret way of the land of Sokar,
which Isis enters on, to be behind her brother.
It is filled with flames of fire from the mouth of Isis.
The gods, the blessed and the dead cannot proceed on it.
The secret way of the land of Sokar and the Westerners who tow this god,
upon which gods, the blessed and the dead do not pass.
It is filled with flames of fire from the mouth of the Wamemty-serpent."

[frater H]

sorry mistake but you can read the rest at the link

[frater H]

Four Worlds
From Wikipedia, the free encyclopedia
The Four Worlds
in Kabbalah

Atziluth
Beri'ah
Yetzirah
Assiah
The Four Worlds (Hebrew: עולמות‎ Olamot/Olamos, singular: Olam עולם), sometimes counted with a prior stage to make Five Worlds, are the comprehensive categories of spiritual realms in Kabbalah in the descending chain of Existence.
The concept of "Worlds" denotes the emanation of creative lifeforce from the Ein Sof Divine Infinite, through progressive, innumerable tzimtzumim (concealments/veilings/condensations). As such, God is described as the "Most Hidden of All Hidden",[1] and Olam is etymologically related to, and sometimes spelled as,[2] עלם (Noun: העלם Helem meaning "concealment"). While these dimmings form innumerable differentiated spiritual levels, each a microcosmic realm, nonetheless, through the mediation of the sephirot (Divine attributes), five comprehensive Worlds emerge. "Higher" realms metaphorically denote greater revelation of the Divine Ohr light, in more open proximity to their source, "Lower" realms are capable of receiving only lesser creative flow. The Worlds are garments of the Ein Sof, and Hasidic thought interprets their reality as only apparent to Creation, while "from above" the Divine Infinite fills all equally.
As particular sephirot dominate in each realm, so the primordial fifth World, Adam Kadmon, is often excluded for its transcendence, and the four subsequent Worlds are usually referred to. Their names are read out from Isaiah 43:7, "Every one that is called by My name (Atzilus "Emanation/Close"), and for My glory I have created (Beriah "Creation"), I have formed (Yetzirah "Formation"), even I have made (Asiyah "Action"). Below Asiyah, the lowest spiritual World, is Asiyah-Gashmi ("Physical Asiyah"), our Physical Universe, which enclothes its last two sephirot emanations (Yesod and Malchut).[3] Collectively, the Four Worlds are also referred to as ABiYA, after their initial letters.

[frater H]

v t e
The Worlds are formed by the Ohr Mimalei Kol Olmin, the Divine creative light that "Fills all Worlds" immanently, according to their particular spiritual capacity to receive. The 10 sephirot attributes and 12 basic partzufim personas shine in each world, as well as more specific Divine manifestations. In Lurianic Kabbalah, the partzufim dynamically interact with each other, and sublime levels are enclothed within lower existences, as their concealed soul. Nonetheless, in each World, particular sephirot and partzufim predominate. The five Worlds in descending order:
Adam Kadmon (אָדָם קַדְמוֹן), meaning Primordial Man. This anthropomorphic metaphor denotes the Yosher (Upright) configuration of the sephirot. Kadmon signifies "primary of all primaries", the first pristine emanation, still united with the Ein Sof. Also called the realm of Keter Elyon (Supernal Crown of Will), "the lucid and luminous light" (Tzachtzachot), "the pure lucid sephirot which are concealed and hidden" in potential. As Keter is elevated above the sephirot, so Adam Kadmon is supreme above the Worlds, and generally only Four Worlds are referred to.
Atziluth (אֲצִילוּת), meaning World of Emanation, also "Close." On this level the light of the Ein Sof (Infinite Divine "without end") radiates and is still united with its source. This supernal revelation therefore precludes the souls and Divine emanations in Atzilus from sensing their own existence. In Atzilus the 10 sephirot emerge in revelation, with Chochma (Wisdom) dominating, all is nullification of essence (Bittul HaEtzem) to Divinity, not considered created and separate. The last sephirah Malchut (Kingdom) is the "Divine speech" of Genesis 1, through which lower Worlds are substained.
Beri'ah (בְּרִיאָה or alternatively[4] בְּרִיָּה), meaning World of Creation. On this level is the first concept of creatio ex nihilo (Yesh miAyin), however without yet shape or form, as the creations of Beriah sense their own existence, though in nullification of being (Bittul HaMetzius) to Divinity. Beriah is the realm of the "Divine Throne", denoting the sephirot configuration of Atzilus descending into Beriah like a King on a Throne. The sephirah Binah (Understanding) predominates, Divine intellect. Also called the "Higher Garden of Eden". The Highest Ranking Angels are in Beriah.[citation needed]
Yetzirah (יְצִירָה), meaning World of Formation. On this level the created being assumes shape and form. The emotional sephirot Chesed to Yesod predominate, the souls and angels of Yetzirah worship through Divine emotion and striving, as they sense their distance from the Understanding of Beriah. This ascent and descent channels the Divine vitality down through the Worlds, furthering the Divine purpose. Therefore, in Yetzirah are the main angels, such as Seraphim, denoting their burning consummation in Divine emotion. Also called the "Lower Garden of Eden".
Assiah (עֲשִׂיָּה), meaning World of Action. On this level the creation is complete, differentiated and particular, due to the concealment and diminution of the Divine vitality. However, it is still on a spiritual level. The angels of Asiyah function on the active level, as the sephirah Malchut (fulfilment in Kingship) predominates. Below spiritual Asiyah is Asiyah Gashmi ("Physical Asiyah"), the final, lowest realm of existence, our material Universe with all its creations. The last two sephirot of Asiyah channel the lifeforce into Physical Asiyah.

[frater H]

[edit]Meaning



Jacob's vision in Genesis 28:12 of a ladder between Heaven and Earth. In Kabbalistic interpretation, the Sulam-ladder's four main divisions are the Four Worlds[5] and the angelic hierarchy embody external dimensions of the lights-vessels, while souls embody inner dimensions
These four worlds are spiritual, Heavenly realms in a descending chain, although the lowest world of Assiah has both a spiritual and a physical aspect. The physical level of Assiah is our physical finite realm, including the cosmological Universe studied by Science. Consequently, as Kabbalah is a metaphysical study, its reference to Ohr ("light") is a metaphor for Divine emanation, and the terms "higher" and "lower" are metaphors for closer and further from Divine consciousness and revelation.
The 16th-century systemisation of Kabbalah by Moshe Cordovero brought the preceding interpretations and schools into their first complete rational synthesis. Subsequent doctrines of Kabbalah from Isaac Luria, describe an initial Tzimtzum (withdrawal of the universal Divine consciousness that preceded Creation) to "allow room" for created beings on lower levels of consciousness. Lower levels of consciousness require the self-perception of independent existence, by the created beings on each level, to prevent their loss of identity before the magnificence of God. This illusion increases with more force in each subsequent descending realm. The number of graduations between the Infinite and the finite, is likewise infinite, and arises from innumerable, progressively strong concealments of the Divine light. Nonetheless, the four worlds represent fundamental categories of Divine consciousness from each other, which delineates their four descriptions. Consequently, each world also psychologically represents a spiritual rung of ascent in human consciousness, as it approaches the Divine.
Kabbalah distinguishes between two types of Divine light that emanate through the 10 Sephirot (Divine emanations) from the Infinite (Ein Sof), to create or affect reality. The continual flow of an immanent lower light ("Mimalei Kol Olmin"), the light that "fills all worlds" is the creating force in each descending world that itself continually brings into being from nothing, everything in that level of existence. It is this light that undergoes the concealments and contractions as it descends downward to create the next level, and adapts itself to the capacity of each created being on each level. A transcendent higher light ("Sovev Kol Olmin"), the light that "surrounds all worlds" would be the manifestation on a particular level of a higher light above the capacity of that realm to contain. This is ultimately rooted in the infinite light ("Ohr Ein Sof") that preceded Creation, the Tzimtzum and the Sephirot, rather than the source of the immanent light in the "Kav" (first emanation of creation after the Tzimtzum), in the teachings of Isaac Luria. Consequently, all the worlds are dependent for their continual existence on the flow of Divinity they constantly receive from the Divine Will to create them. Creation is continuous. The faculty of Divine Will is represented in the Sephirot (10 Divine emanations) by the first, supra-conscious Sephirah of "Keter"-Crown, that transcends the lower 9 Sephirot of conscious intellect and emotion. Once the Divine Will is manifest, then it actualises Creation through Divine Intellect, and "subsequently" Divine Emotion, until it results in action. The reference to temporal cause and effect is itself a metaphor. The psychology of man also reflects the "Divine psychology" of the Sephirot, as "Man is created in the image of God" (Genesis 1:27). In man the activation of willpower through intellect and emotion until deed, requires time and subsequent cause and effect. In the Divine Sephirot and their activation of Creation, this does not apply, as limitations only apply to Creation.
The Book of Job states that "from my flesh I see God". In Kabbalah and Hasidism this is understood to refer to the correspondence between the "Divine psychology" of the Four Worlds and the Sephirot, with human psychology and the Sephirot in the soul of man. From understanding the Kabbalistic description of the human soul, we can grasp the meaning of the Divine scheme. Ultimately, this is seen as the reason that God chose to emanate His Divinity through the 10 Sephirot, and chose to create the corresponding chain of four Worlds (called the "Seder hishtalshelus"-"order of development"). He could have chosen to bridge the infinite gap between the Ein Sof and our World by a leap of Divine decree. Instead the Sephirot and Four Worlds allow man to understand Divinity through Divine manifestation, by understanding himself. The verse in Genesis of this correspondence also describes the feminine half of Creation: (Genesis 1:27) "So God created man in His own image, in the image of God created He him, male and female created He them". Consequently some of the Sephirot are feminine, and the Shechina (immanent Divine presence) is seen as feminine. It is the intimate relationship between the Divine sceme of four World and man, that allows man's ascent more easily to Divine consciousness (see Dveikus).
[edit]Correspondences

http://watch.pair.com/taurus.html

[frater H]

[edit]Meaning



Jacob's vision in Genesis 28:12 of a ladder between Heaven and Earth. In Kabbalistic interpretation, the Sulam-ladder's four main divisions are the Four Worlds[5] and the angelic hierarchy embody external dimensions of the lights-vessels, while souls embody inner dimensions
These four worlds are spiritual, Heavenly realms in a descending chain, although the lowest world of Assiah has both a spiritual and a physical aspect. The physical level of Assiah is our physical finite realm, including the cosmological Universe studied by Science. Consequently, as Kabbalah is a metaphysical study, its reference to Ohr ("light") is a metaphor for Divine emanation, and the terms "higher" and "lower" are metaphors for closer and further from Divine consciousness and revelation.
The 16th-century systemisation of Kabbalah by Moshe Cordovero brought the preceding interpretations and schools into their first complete rational synthesis. Subsequent doctrines of Kabbalah from Isaac Luria, describe an initial Tzimtzum (withdrawal of the universal Divine consciousness that preceded Creation) to "allow room" for created beings on lower levels of consciousness. Lower levels of consciousness require the self-perception of independent existence, by the created beings on each level, to prevent their loss of identity before the magnificence of God. This illusion increases with more force in each subsequent descending realm. The number of graduations between the Infinite and the finite, is likewise infinite, and arises from innumerable, progressively strong concealments of the Divine light. Nonetheless, the four worlds represent fundamental categories of Divine consciousness from each other, which delineates their four descriptions. Consequently, each world also psychologically represents a spiritual rung of ascent in human consciousness, as it approaches the Divine.
Kabbalah distinguishes between two types of Divine light that emanate through the 10 Sephirot (Divine emanations) from the Infinite (Ein Sof), to create or affect reality. The continual flow of an immanent lower light ("Mimalei Kol Olmin"), the light that "fills all worlds" is the creating force in each descending world that itself continually brings into being from nothing, everything in that level of existence. It is this light that undergoes the concealments and contractions as it descends downward to create the next level, and adapts itself to the capacity of each created being on each level. A transcendent higher light ("Sovev Kol Olmin"), the light that "surrounds all worlds" would be the manifestation on a particular level of a higher light above the capacity of that realm to contain. This is ultimately rooted in the infinite light ("Ohr Ein Sof") that preceded Creation, the Tzimtzum and the Sephirot, rather than the source of the immanent light in the "Kav" (first emanation of creation after the Tzimtzum), in the teachings of Isaac Luria. Consequently, all the worlds are dependent for their continual existence on the flow of Divinity they constantly receive from the Divine Will to create them. Creation is continuous. The faculty of Divine Will is represented in the Sephirot (10 Divine emanations) by the first, supra-conscious Sephirah of "Keter"-Crown, that transcends the lower 9 Sephirot of conscious intellect and emotion. Once the Divine Will is manifest, then it actualises Creation through Divine Intellect, and "subsequently" Divine Emotion, until it results in action. The reference to temporal cause and effect is itself a metaphor. The psychology of man also reflects the "Divine psychology" of the Sephirot, as "Man is created in the image of God" (Genesis 1:27). In man the activation of willpower through intellect and emotion until deed, requires time and subsequent cause and effect. In the Divine Sephirot and their activation of Creation, this does not apply, as limitations only apply to Creation.
The Book of Job states that "from my flesh I see God". In Kabbalah and Hasidism this is understood to refer to the correspondence between the "Divine psychology" of the Four Worlds and the Sephirot, with human psychology and the Sephirot in the soul of man. From understanding the Kabbalistic description of the human soul, we can grasp the meaning of the Divine scheme. Ultimately, this is seen as the reason that God chose to emanate His Divinity through the 10 Sephirot, and chose to create the corresponding chain of four Worlds (called the "Seder hishtalshelus"-"order of development"). He could have chosen to bridge the infinite gap between the Ein Sof and our World by a leap of Divine decree. Instead the Sephirot and Four Worlds allow man to understand Divinity through Divine manifestation, by understanding himself. The verse in Genesis of this correspondence also describes the feminine half of Creation: (Genesis 1:27) "So God created man in His own image, in the image of God created He him, male and female created He them". Consequently some of the Sephirot are feminine, and the Shechina (immanent Divine presence) is seen as feminine. It is the intimate relationship between the Divine sceme of four World and man, that allows man's ascent more easily to Divine consciousness (see Dveikus).
[edit]Correspondences

[frater H]

http://watch.pair.com/taurus.html

[frater H]

Labyrinth
From Wikipedia, the free encyclopedia

Chakravyuha, a threefold seed pattern with a spiral at the centre, one of the troop formations employed at the battle of Kurukshetra, as recounted in the Mahabharata.


Labyrinth among rock drawings in Valcamonica, Italy
In Greek mythology, the Labyrinth (Greek λαβύρινθος labyrinthos, possibly the building complex at Knossos) was an elaborate structure designed and built by the legendary artificer Daedalus for King Minos of Crete at Knossos. Its function was to hold the Minotaur, a mythical creature that was half man and half bull and was eventually killed by the Athenian hero Theseus. Daedalus had made the Labyrinth so cunningly that he himself could barely escape it after he built it.[1] Theseus was aided by Ariadne, who provided him with a skein of thread, literally the "clew", or "clue", so he could find his way out again.
http://en.wikipedia.org/wiki/Labyrinth
Ley line
From Wikipedia, the free encyclopedia
(Redirected from Ley lines)
For other uses, see Ley Lines (disambiguation).


The Malvern Hills, Alfred Watkins believed a ley line passes along their ridge.
Ley lines are alleged alignments of a number of places of geographical and historical interest, such as ancient monuments and megaliths, natural ridge-tops and water-fords. The phrase was coined in 1921 by the amateur archaeologist Alfred Watkins, in his books Early British Trackways and The Old Straight Track. He sought to identify ancient trackways in the British landscape, commenting "I knew nothing on June 30th last of what I now communicate, and had no theories".[1] Watkins later developed theories that these alignments were created for ease of overland trekking by line-of-sight navigation during neolithic times, and had persisted in the landscape over millennia.[2]
In 1969 the writer John Michell revived the term "ley lines", associating it with spiritual and mystical theories about alignments of land forms, drawing on the Chinese concept of feng shui. He believed that a mystical network of ley lines existed across Britain.[3]
Since the publication of Michell's book the spiritualised version of the concept has been adopted by other authors, and applied to landscapes in many places around the world. Both versions of the theory have been criticised on the grounds that random distributions of points will inevitably create apparent "alignments".

http://en.wikipedia.org/wiki/Ley_lines

[frater H]

Crop circle
From Wikipedia, the free encyclopedia
For the irrigation method that produces circular fields of crops, see center pivot irrigation.


A 780 ft (240 m) crop circle in the form of a double (six-sided) triskelion composed of 409 circles. Milk Hill, England, 2001.
A crop circle is a sizable pattern created by the flattening of a crop such as wheat, barley, rye, maize, or rapeseed. Crop circles are also referred to as crop formations, because they are not always circular in shape. The documented cases have substantially increased from the 1970s to current times. In 1991 two hoaxers confessed and claimed authorship of circles throughout England. Twenty-six countries reported approximately ten thousand crop circles in the last third of the 20th century. Ninety percent of those were located in southern England. Many of the formations appearing in that area are positioned near ancient monuments, such as Stonehenge. According to one study, nearly half of all circles found in the UK in 2003 were located within a 15 km (9.3 miles) radius of Avebury.[1]
Archeological remains can cause cropmarks in the fields, in the shapes of circles and squares, but they don't appear overnight and they are always in the same places every year.
http://en.wikipedia.org/wiki/Crop_circle

[frater H]

pretty much but there still a few parts missing

[frater H]

you still need the last album to complete it

[frater H]

there is actually alot of things to consider this is basically the back bone of the whole problem

[frater H]

and i did realize that problem 8 is going to be on the new album but im not shitting you there is a hidden track on lateralus

[frater H]

what alternating track listing?

[frater H]

interesting but no the whole alternate arrangement doesnt seem to be correct if you look closer it will be com cler but it is a clue and ive already mentioned it

aenima tracks 1-7 with 8 in middel and 9-15 on the other
lateralus 1-6 7 middel 8-13
10k day 1-5 6 middel 7-11

this creatyes then patern 876 in the middel so the next album will have 5 in the moideeil

this also creates the total amount of tracks in an desending order from aenima 15 13 11 so the next will be 9
the same concept

so i definitly think the holy gift is incorrect

[iAMtheMA!]

all you know about PROBLEM 8 is what blair's sold you. so there's no reason to believe that it will be on the next album.

PAST TENSE: 1. "recorded many years ago - so long ago, in fact...", 2. "...not only was the song professionally recorded", 3. "it was actually ‘issued’ in a manufactured medium", 4. "Because of the ingenious way it was made available to the public..." PRESENT TENSE: 1. "...Problem 8, in my opinion, constitutes the ultimate hidden track".

so it's already "out there" and "in the ether", folks. it's so hidden that it makes you want to believe that it hasn't even been "made available to the public" yet - even though it has. FUTURE TENSE ASSUMPTIONS?: a few loft photos of "problem 8" written on a white board while the band's recording new material, preparing for a new release ...taken at about the same time blair decided to finally let (the rest of) us in on the secret.

"Although you are free to speculate all you want, I would ask that you please do not read more into this than I’ve just stated" - BMB

“Problem 8 (The Riemann Hypothesis)”
- an original full-blown Tool song complete with vocals and lyrics
- recorded in a studio, many years ago
- so long ago that I don’t remember who played bass (although I want to say it was Justin)
- hasn’t been heard except for by a handful of people
- virtually no one outside of the band (and a few others) is aware of its very existence

"some of the other, more uncommon pieces/collectibles/keepsakes" ...which "no, it is not":
- “All Indians, No Chiefs” vintage tee-shirt
- (rare blue, limited edition, signed) Lateralus vinyl (with bonus doodles by Adam)
- Evans drum head (signed by Danny with a purple Sharpie, containing a slightly off-kilter “Star of Babalon”)
- Stinkfist (Eastern European promo) album
- super scarce Australian release of a “colour double Salival LP” (all of which are most likely CD transfer bootlegs)
- “Salival” box-set (signed, embellished with original Adam artwork of varying degrees of complexity
Leave any “Salival” vinyl alone, however. They’re all phony.
- 72826 “SATAN” (1991 original demo cassette, 500-1000 copies made)
factory-sealed, genuine UNOPENED, mint copy
makes for a nice centerpiece to any tool memorabilia collection
phallic Tool wrench on the cover
6 tracks from Tool’s first two records,
including studio versions of “Cold & Ugly” and “Jerk-off.”
- GENUINE certified RIAA record award
contains the name of the person that it was presented to,
only usually given to friends, family, and those intimately involved in the record’s production
don’t often come up for sale, might have to wait until someone dies
band stopped giving these out after “Aenima” so there can’t be too many floating around.
- tour posters (limited edition, signed, framed)
with original hand-drawn "double-set" artwork by guitarist Adam Jones or bassist Justin Chancellor
see: ‘recent’ Nokia shows in L.A., Hamburg Germany on June 6, 2006 (666)
large “ET IN ARCADIO EGO” European tour poster from some by-gone era.
might have been ancient back stage passes
- a cheap guitar signed hastily backstage by all four band members as part of some radio promo
- bizarre video props
- some Xeroxed set-list that includes “The Grudge”, and which is also signed by Maynard (most likely fabricated)
- lyrics to a popular Tool song hand written on a Ralph’s grocery bag
- a cover (not the rumored “Crazy Train”)
- a glorified segue that never made it onto a record

let's not go crazy here.

[frater H]

yes it looks like poroblem eight will be track 5
one thing ids funny thouh
wikipedia states that the 16 step theory was claimed by a anoyomous
fan my gues ia that fan is blair and i used it to determine that the lovers card is conected to the deviding of the albums


and the real nature of the hidden track is a mystery that only time will reveal

but still im not kidding there is a hidden track on lateralus

[frater H]

the whole thing is a puzzle , you need to use everything there are clues all over the place

[frater H]

if you go back abd look at all the old news letters you would realize that blair has been giving clues all the time.
but if you dont understand the key principle applied , it would make no sense.
so ive got all the pieces but they only need to be assenbled in the coorect order.

[frater H]

i was also wondering how many people actually no about problem 8?

because to me it seems as if it is kind of obvious, dont get me wrong on this
ido think this is the coolest thing that anyone up do date has done.

and just wondering are there anyone who understands what problem 8 is or has solved it.

[iAMtheMA!]

'cept it doesn't seem like you really read what blair has written... bc you believe (for whatever reason) that the track hasn't already been "recorded", "issued", or "made available to the public" yet.

[frater H]

what are you talking about
i said there is a track on the lateralus album in the start if you reverse it
i did also say that i cant remember what it sounded like
i dont know the guy anymore on whose cd it was
so sorry

and also im not sure if it is problem 8
its definitley part of it

and thats what im actually talking about

problem 8 is something cool

and do you even understand what its all about ?

thats what im talking about.


see there is alot of things to be figured out just wait and see

how long was it since 10 000 days was released before he mentioned the puzzle on it?

so look at things in a differnt perspective , and try figuring out this shit

[iAMtheMA!]

and i did realize that problem 8 is going to be on the new album but im not shitting you there is a hidden track on lateralus

Nonethless, Problem 8 will be on the new album.


this creatyes then patern 876 in the middel so the next album will have 5 in the moideeil

ahooo, the fifth song on upcoming album will be... problem 8?

and then my post about what blair has actually said.

yes it looks like poroblem eight will be track 5 ...one thing ids funny thouh ...wikipedia states that

if you go back abd look at all the old news letters you would realize that blair has been giving clues all the time.

'cept it doesn't seem like you really read what blair has written... bc you believe (for whatever reason) that the track hasn't already been "recorded", "issued", or "made available to the public" yet.

[frater H]

if you have read the thread from the start it would you would undersstand
and , if problem 8 was created on 30 manufactured mediums(vinyl or cd )
why would they have no reason to incude it on an album to be available to everybody

and this isnt helping in solving the puzzle

[frater H]

the thing is i have spotted all the possible conections of the elements used in problem 8 rieman hypothesis

but in doing this i saw it is a (holy gift)

so im not going tos spoil it and throw all my cards on the table

its not just a song or hiden limited track, thats for sure

[frater H]

i just cant believe everybody has missed this , see im not that type of guy who listens to tool all day
and rant about what happened at there cocerts .

the first time i read about the puzzle was this year after the puzzle of 10 00 days was completed.

and i read this book of the tarot the other day and

BANG it came to me

i went back to the wiki page about the 16 step

and imediately saw the connection.

[frater H]

but anyway getting back to the problem

read the old news letters released after aenima was relaesed

one important clue i the whole thing was given in the news letter where he talked abouty timothy leary`s paintings with the swastika sgnature

[frater H]

well another thing the next album will have a track on it that is either called something rose or has somehting related to roses in it

the other thing problem 8 is called the HOLY GRAIL

the clues are all over the place its a puzzl within a puzzle within a puzzle.

get it

da vinci code

check the newsletters

when i read it the first toime i couldnt see it in context and thought it was his way
joking.

but now after making this dicovery it makes a lot more sense .
serously check it out.

this is no bullshit if you dont realize it now it would be evident with the next album.

another thing i had this vision of a box set being released with the 4 albums on it aeniema to the next unleased one.

if this doesnt convince you so be it.

its not called the holy gift for nothing

and i still believe it was blair that coined the name no one else could have thought about it

[frater H]

davinci code is basically one of the main keys to unravelling the puzzle

and also the fibonacci sequence im just trying to figure out if its just the 16th step and also if the octancci number heptanacci and hexanacci number isn`t being used.

when a realized the stuff i figured out , it gave me new insight and i learned something
but its not complete so there is yet to learn.

there is definitley magick incorporated into the recording of the albums
and thats part of the whole thing.

another thing the next album will have a map of someort in figuring out thes e puzzle`s
if its gonna be interactive or on cd i dont know , and it will be covered with all the ritual magick elemental tools, the pentacle dagger grail and wand etc.

these are some of the things that i saw in a vision while listening to the album and while not.

so i dont know if im the only one but i do think that it has got someting to do with problem 8

[frater H]

eye in nthe triangle

[frater H]

okay hers a loittle something to put in your pipe to smoke
if you really cant see that there is something more to problem 8 than just being a hidden track
the puzzle about the songs of 10 000 days being arranged in the correct order to the seophiroth of the tree of life.

is just one of the 4 that fit on te 4 albums from aenima to the last one
this is just a part of it.

oh and i like yje funny comment
always good to break the tension
being to serious about something

[frater H]

Nema (occultist)
From Wikipedia, the free encyclopedia
For other meanings of Nema, see Nema (disambiguation).
Nema is an occultist and writer best known for her magical writings about the Ma'atian current. She has been practising and writing about magick (magical working, as defined by Aleister Crowley) for over twenty-five years. From her experience with Thelemic magick (a system designed by Crowley), she developed her own system of magic called Maat Magick which has the aim of transforming the human race. Her writings have appeared in many publications, including the Cincinnati Journal of Ceremonial Magick, Aeon, Starfire, and others.
In 1974, she allegedly channelled a short book called Liber Pennae Praenumbra. Her ideas have been featured in the writings of Kenneth Grant.[1][2] In 1979, she co-founded the Horus-Maat Lodge. According to Donald Michael Kraig:
"Nema has been one of the most influential occultists of the last quarter century although most occultists have never read her works. What Nema has done is influenced those who have been writers and teachers. They, in turn, influenced the rest of us."[3]

[frater H]

wake the fuck up.

[frater H]

this isnt tom hanks davinci code shit
the search of the royal sangreal

this is another grail with a slight sinister twist to it

[frater H]

Ankh
From Wikipedia, the free encyclopedia
For other uses, see Ankh (disambiguation).


Ankh
The ankh ( /ˈæŋk/ or /ˈɑːŋk/; U+2625 ☥ or U+132F9 𓋹), also known as key of life, the key of the Nile or crux ansata (Latin meaning "cross with a handle"), was the ancient Egyptian hieroglyphic character that read "eternal life", a triliteral sign for the consonants ꜥ-n-ḫ. Egyptian gods are often portrayed carrying it by its loop, or bearing one in each hand, arms crossed over their chest.

[frater H]

Djed
From Wikipedia, the free encyclopedia


The Djed pillar, an ancient Egyptian symbol meaning 'stability', is the symbolic backbone of the god Osiris.
The djed ( /dʒɛd/ in English) symbol is one of the more ancient and commonly found symbols in Egyptian mythology. It is a pillar-like symbol in hieroglyphics representing stability. It is associated with Osiris, the Egyptian god of the afterlife, the underworld, and the dead. It is commonly understood to represent his spine.
Contents [hide]
1 Myth
2 Origin and development
3 Hieroglyphic usage
4 Ceremonial usage
5 Usage as amulets
6 Parallels in other cultures
7 References
8 External links
[edit]Myth

In the myth of Osiris and Isis, Osiris was killed by Set by being tricked into a coffin made to fit Osiris exactly. Set then had the coffin with the now deceased Osiris flung into the Nile. The coffin was carried by the Nile to the ocean and on to the city of Byblos in Syria. It ran aground and a sacred tree took root and rapidly grew around the coffin, enclosing the coffin within its trunk. The king of the land, intrigued by the tree's quick growth, ordered the tree cut down and installed as a pillar in his palace, unaware that the tree contained Osiris's body. Meanwhile, Isis searched for Osiris aided by Anubis, and came to know of Osiris's location in Byblos. Isis maneuvered herself into the favor of the king and queen and was granted a boon. She asked for the pillar in the palace hall, and upon being granted it, extracted the coffin from the pillar. She then consecrated the pillar, anointing it with myrrh and wrapping it in linen. This pillar came to be known as the pillar of djed.[1]
[edit]Ori

[frater H]

Maat
From Wikipedia, the free encyclopedia
For other uses, see Maat (disambiguation).
Maat

Maat was both the goddess and the personification of truth and justice. Her ostrich feather represents truth.
Goddess of truth and justice
Major cult center All ancient Egyptian cities
Symbol the ostrich feather
Parents Ra
Consort Thoth (in some accounts)
Maat or ma'at (thought to have been pronounced *[muʔ.ʕat]),[1] also spelled māt or mayet, was the ancient Egyptian concept of truth, balance, order, law, morality, and justice. Maat was also personified as a goddess regulating the stars, seasons, and the actions of both mortals and the deities, who set the order of the universe from chaos at the moment of creation. Her (ideological) counterpart was Isfet.
The earliest surviving records indicating Maat is the norm for nature and society, in this world and the next, was recorded during the Old Kingdom, the earliest substantial surviving examples being found in the pyramid texts of Unas (ca. 2375 BCE and 2345 BCE).[2]
Later, as a goddess in other traditions of the Egyptian pantheon, where most goddesses were paired with a male aspect, her masculine counterpart was Thoth and their attributes are the same. After the rise of Ra they were depicted together in the Solar Barque.
After her role in creation and continuously preventing the universe from returning to chaos, her primary role in Egyptian mythology dealt with the weighing of souls that took place in the underworld, Duat.[3] Her feather was the measure that determined whether the souls (considered to reside in the heart) of the departed would reach the paradise of afterlife successfully.
Pharaohs are often depicted with the emblems of Maat to emphasise their role in upholding the laws of the Creator.[4]
Contents [hide]
1 Maat as a principle
1.1 Maat and the law
1.2 Maat and scribes
2 Maat as a goddess
3 Temples of Maat
4 Maat themes found in the Book of the Dead and on tomb inscriptions
4.1 42 Confessions (Papyrus of Ani)
5 Assessors of Maat
6 See also
7 Notes
8 References
[edit]Maat as a principle



Maat wearing feather of truth
Maat as a principle was formed to meet the complex needs of the emergent Egyptian state that embraced diverse peoples with conflicting interests. The development of such rules sought to avert chaos and it became the basis of Egyptian law. From an early period the King would describe himself as the "Lord of Maat" who decreed with his mouth the Maat he conceived in his heart.
The significance of Maat developed to the point that it embraced all aspects of existence, including the basic equilibrium of the universe, the relationship between constituent parts, the cycle of the seasons, heavenly movements, religious observations and fair dealings, honesty and truthfulness in social interactions.[5]
The ancient Egyptians had a deep conviction of an underlying holiness and unity within the universe. Cosmic harmony was achieved by correct public and ritual life. Any disturbance in cosmic harmony could have consequences for the individual as well as the state. An impious King could bring about famine or blasphemy blindness to an individual.[6] In opposition to the right order expressed in the concept of Maat is the concept of Isfet: chaos, lies and violence.[7]
In addition to the importance of the Maat, several other principles within ancient Egyptian law were essential, including an adherence to tradition as opposed to change, the importance of rhetorical skill, and the significance of achieving impartiality, and social justice. In one Middle Kingdom (2062 to c. 1664 BCE) text the Creator declares "I made every man like his fellow". Maat called the rich to help the less fortunate rather than exploit them, echoed in tomb declarations: "I have given bread to the hungry and clothed the naked" and "I was a husband to the widow and father to the orphan".[8]
To the Egyptian mind, Maat bound all things together in an indestructible unity: the universe, the natural world, the state, and the individual were all seen as parts of the wider order generated by Maat.
The underlying concepts of Taoism and Confucianism resemble Maat at times.[9] Many of these concepts were codified into laws, and many of the concepts often were discussed by ancient Egyptian philosophers and officials who referred to the spiritual text known as the Book of the Dead.
[edit]Maat and the law
There is little surviving literature that describes the practice of ancient Egyptian law. Maat was the spirit in which justice was applied rather than the detailed legalistic exposition of rules (as found in Mosaic law of the 1st millennium BCE). Maat was the norm and basic values that formed the backdrop for the application of justice that had to be carried out in the spirit of truth and fairness. From the 5th dynasty (c. 2510-2370 BCE) onwards the Vizier responsible for justice was called the Priest of Maat and in later periods judges wore images of Maat.[10]
Later scholars and philosophers also would embody concepts from the wisdom literature, or Sebayt.[11] These spiritual texts dealt with common social or professional situations and how each was best to be resolved or addressed in the spirit of Maat. It was very practical advice, and highly case-based, so that few specific and general rules could be derived from them.
During the Greek period in Egyptian history, Greek law existed alongside Egyptian law. The Egyptian law preserved the rights of women who were allowed to act independently of men and own substantial personal property and in time this influenced the more restrictive conventions of the Greeks and Romans.[12] When the Romans took control of Egypt, the Roman legal system which existed throughout the Roman Empire was imposed in Egypt.
[edit]Maat and scribes
Scribes held prestigious positions in ancient Egyptian society in view of their importance in the transmission of religious, political and commercial information.[13]
Thoth was the patron of scribes who is described as the one "who reveals Maat and reckons Maat; who loves Maat and gives Maat to the doer of Maat".[14] In texts such as the Instruction of Amenemope the scribe is urged to follow the precepts of Maat in his private life as well as his work.[15] The exhortations to live according to Maat are such that these kinds of instructional texts have been described as "Maat Literature".[16]
[edit]Maat as a goddess



or
or


or

or
or



or


or

Goddess Maat[17][18]
in hieroglyphs
Maat was the goddess of harmony, justice, and truth represented as a young woman,[19] sitting or standing, holding a was scepter, the symbol of power, in one hand and an ankh, the symbol of eternal life, in the other. Sometimes she is depicted with wings on each arm or as a woman with an ostrich feather on her head.[20] Depictions of Maat as a goddess are recorded from as early as the middle of the Old Kingdom (c. 2680 to 2190 BCE).[21]
The sun-god Ra came from the primaeval mound of creation only after he set his daughter Maat in place of Isfet (chaos). Kings inherited the duty to ensure Maat remained in place and they with Ra are said to "live on Maat", with Akhenaten (r. 1372-1355 BCE) in particular emphasising the concept. Some of them incorporated Maat into their names, being referred to as Lords of Maat,[22] or Meri-Maat (Beloved of Maat). When beliefs about Thoth arose in the Egyptian pantheon and started to consume the earlier beliefs at Hermopolis about the Ogdoad, it was said that she was the mother of the Ogdoad and Thoth the father.
In the Duat, the Egyptian underworld, the hearts of the dead were said to be weighed against her single "Feather of Ma'at", symbolically representing the concept of Maat, in the Hall of Two Truths. A heart which was unworthy was devoured by the goddess Ammit and its owner condemned to remain in the Duat. The heart was considered the location of the soul by ancient Egyptians. Those people with good and pure hearts were sent on to Aaru. Osiris came to be seen as the guardian of the gates of Aaru after he became part of the Egyptian pantheon and displaced Anubis in the Ogdoad tradition.
The weighing of the heart, pictured on papyrus in the Book of the Dead typically, or in tomb scenes, shows Anubis overseeing the weighing and the lioness Ammit seated awaiting the results so she could consume those who failed. The image would be the vertical heart on one flat surface of the balance scale and the vertical Shu-feather standing on the other balance scale surface. Other traditions hold that Anubis brought the soul before the posthumous Osiris who performed the weighing.
[edit]Temples of Maat

The earliest evidence for a dedicated temple is in the New Kingdom (c. 1569 to 1081 BCE) era, despite the great importance placed on Maat. Amenhotpe III commissioned a temple in the Karnak complex, whilst textual evidence indicates that other temples of Maat were located in Memphis and at Deir el-Medina.[23]
[edit]Maat themes found in the Book of the Dead and on tomb inscriptions

[frater H]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. (November 2011)


A section of the Egyptian Book of the Dead written on papyrus showing the "Weighing of the Heart" in the Duat using the feather of Maat as the measure in balance
One aspect of ancient Egyptian funerary literature which often is mistaken for a codified ethic of Maat is Spell (Chapter) 125 of the Book of the Dead or Papyrus of Ani (known to the ancient Egyptians as The Book of Going Forth by Day). The lines of this spell are often collectively called the "Forty-Two Declarations of Purity" or the Negative Confessions. These declarations varied somewhat from tomb to tomb and so cannot be considered a canonical definition of Maat. Rather, they appear to express each tomb owner's individual conception of Maat, as well as working as a magical absolution—misdeeds or mistakes made by the tomb owner in life could be declared as not having been done, and through the power of the written word, wipe that particular misdeed from the afterlife record of the deceased.
Many of the lines are similar, however, and they can help to give the student a "flavor" for the sorts of things which Maat governed — essentially everything, from the most formal to the most mundane aspects of life.
The doctrine of Maat is represented in the declarations to Rekhti-merti-f-ent-Maat and the 42 Negative Confessions listed in the Papyrus of Ani. The following are taken from public domain translations made by E. A. Wallis Budge in the early part of the 20th century; more recent translations may differ in the light of modern scholarship.
[edit]42 Confessions (Papyrus of Ani)
I have not committed sin.
I have not committed robbery with violence.
I have not stolen.
I have not slain men and women.
I have not stolen grain.
I have not purloined offerings.
I have not stolen the property of the god.
I have not uttered lies.
I have not carried away food.
I have not uttered curses.
I have not committed adultery, I have not lain with men.
I have made none to weep.
I have not eaten the heart [i.e I have not grieved uselessly, or felt remorse].
I have not attacked any man.
I am not a man of deceit.
I have not stolen cultivated land.
I have not been an eavesdropper.
I have slandered [no man].
I have not been angry without just cause.
I have not debauched the wife of any man.
I have not debauched the wife of [any] man. (repeats the previous affirmation but addressed to a different god).
I have not polluted myself.
I have terrorised none.
I have not transgressed [the Law].
I have not been wroth.
I have not shut my ears to the words of truth.
I have not blasphemed.
I am not a man of violence.
I am not a stirrer up of strife (or a disturber of the peace).
I have not acted (or judged) with undue haste.
I have not pried into matters.
I have not multiplied my words in speaking.
I have wronged none, I have done no evil.
I have not worked witchcraft against the King (or blasphemed against the King).
I have never stopped [the flow of] water.
I have never raised my voice (spoken arrogantly, or in anger).
I have not cursed (or blasphemed) God.
I have not acted with evil rage.
I have not stolen the bread of the gods.
I have not carried away the khenfu cakes from the Spirits of the dead.
I have not snatched away the bread of the child, nor treated with contempt the god of my city.
I have not slain the cattle belonging to the god.[24]
[edit]Assessors of

[frater H]

Butterfly effect
From Wikipedia, the free encyclopedia
For other uses, see Butterfly effect (disambiguation).


Point attractors in 2D phase space.
In chaos theory, the butterfly effect is the sensitive dependence on initial conditions, where a small change at one place in a nonlinear system can result in large differences to a later state. The name of the effect, coined by Edward Lorenz, is derived from the theoretical example of a hurricane's formation being contingent on whether or not a distant butterfly had flapped its wings several weeks before.
Although the butterfly effect may appear to be an esoteric and unlikely behavior, it is exhibited by very simple systems: for example, a ball placed at the crest of a hill may roll into any of several valleys fully depending on slight differences in initial position.
The butterfly effect is a common trope in fiction when presenting scenarios involving time travel and with hypotheses where one storyline diverges at the moment of a seemingly minor event resulting in two significantly different outcomes.



( the time travel part )

[frater H]

the book of the dead is a bunch of spells right.
why wouldnt it be possible to cast a spell with music
if its possible in writing.
whats the difference

maybe ive lost it or somebodies missing the point

[frater H]

if you understand problem 8 you would apreciate tool much more
you realize that they have spent alot of time in planning this out.
and solving the puzzle makes yourself aware of the fact.
well understanding the puzzle you need the final album to solve it completely

[frater H]

you see the other thing is everyone has been talking about tool as
these people who have such enlightening music etc.
but the thing is if you dont understand the occult(which i dont)
you will only realize this with there next album which
would also probably be there last one.
none of there albums covers has anything symbolizing occultism
the next one will

i guess this will shock alot of the fans
because it seems as if the most of them arent ocultists
and wonder about the subject if they really are satanic or whatever.

problem 8 is something else
the whole thing is fucking genius

[lotus.]

Their

[frater H]

Pyramid Texts
From Wikipedia, the free encyclopedia


Pyramid texts from Teti I's pyramid.
The Pyramid Texts are a collection of ancient Egyptian religious texts from the time of the Old Kingdom. The pyramid texts are possibly the oldest known religious texts in the world.[1][2] Written in Old Egyptian, the pyramid texts were carved on the walls and sarcophagi of the pyramids at Saqqara during the 5th and 6th Dynasties of the Old Kingdom. The oldest of the texts have been dated to between ca. 2400-2300 BC.[3] Unlike the Coffin Texts and Book of the Dead into which parts of the pyramid texts later evolved, the pyramid texts were reserved only for the pharaoh and were not illustrated.[4] Following the earlier Palermo Stone, the pyramid texts mark the next-oldest known mention of Osiris, who would become the most important deity associated with afterlife in the Ancient Egyptian religion.[5]
The spells, or "utterances", of the pyramid texts are primarily concerned with protecting the pharaoh's remains, reanimating his body after death, and helping him ascend to the heavens, which are the emphasis of the afterlife during the Old Kingdom. The spells delineate all of the ways the pharaoh could travel, including the use of ramps, stairs, ladders, and most importantly flying. The spells could also be used to call the gods to help, even threatening them if they did not comply.[6]

[frater H]

this could be what rosetta stoned was hinting at

[frater H]

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Babalon
From Thelemapedia

Categories: Thelema | Formulæ | Godforms | Thelemic terms


Babalon as depicted in the card "Lust" in the Thoth Tarot deck
Babalon is referred to as the Scarlet Woman, the Great Mother, and the Mother of Abominations. Her godform is that of a sacred whore, and her primary symbol is the Chalice or Graal. Her consort is Chaos, the “Father of Life” and the male form of the Creative Principle. Babalon is often described as being girt with a sword and riding the Beast, with whom Aleister Crowley personally identified. As Aleister Crowley wrote, “She rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death. In this cup are mingled the elements of the sacrament of the Aeon” (Book of Thoth). In a more general sense, Babalon represents the liberated woman and the full expression of the sexual impulse.
Table of contents [hide]
1 Babalon as the Gateway to the City of Pyramids
2 The Great Whore
3 The office of the Scarlet Woman
3.1 Individual Scarlet Women
4 As the Great Mother
5 Babalon in the Book of Lies
5.1 Crowley's Commentary
6 The Scarlet Woman in the Book of the Law
7 Biblical origins
8 Etymology
9 See also
10 Links of interest
11 References
[edit]
Babalon as the Gateway to the City of Pyramids
Within the mystical system of Crowley, the adept reaches a final stage where he or she must cross the Abyss, that great wilderness of nothingness and dissolution. Choronzon is the dweller there, and his job is to trap the traveler in his meaningless world of illusion. However, Babalon is on just the other side, beckoning. If the adept gives himself to her—the symbol of this act is the pouring of the adept’s blood into her graal—he becomes impregnated in her, then to be reborn as a master and a saint that dwells in the City of the Pyramids. This process is beautifully described in the 15th Aethyr of The Vision and the Voice:

As the dancer whirls, she chants in a strange, slow voice, quickening as she goes: Lo! I gather up every spirit that is pure, and weave him into my vesture of flame. I lick up the lives of men, and their souls sparkle from mine eyes. I am the mighty sorceress, the lust of the spirit. And by my dancing I gather for my mother Nuit the heads of all them that are baptized in the waters of life. I am the lust of the spirit that eateth up the soul of man. I have prepared a feast for the adepts, and they that partake thereof shall see God.
The concept contained within Babalon is that of the mystical ideal, the quest to become one with all. This process necessarily requires refusing to deny anything, becoming perfectly passive the world, allowing all experience to come forward, abandoning oneself into the deluge of sensation. Through this, the mystic comes to direct contact with life, formulating the wine of the Graal, being the distilled understanding derived from raw experience. This process clearly has its analogue in the career of the lady of the night.

Babalon is described in various places in the Thelemic texts, but her most edifying appearance is in The Vision and the Voice, as part of the vision which explains the function of the Chalice:

Let him look upon the cup whose blood is mingled therein, for the wine of the cup is the blood of the saints. Glory unto the Scarlet Woman, Babalon the Mother of Abominations, that rideth upon the Beast, for she hath spilt their blood in every corner of the earth and lo! she hath mingled it in the cup of her whoredom.
With the breath of her kisses hath she fermented it, and it hath become the wine of the Sacrament, the wine of the Sabbath; and in the Holy Assembly hath she poured it out for her worshipers, and they had become drunken thereon, so that face to face they beheld my Father. Thus are they made worthy to become partakers of the Mystery of this holy vessel, for the blood is the life. So sitteth she from age to age, and the righteous are never weary of her kisses, and by her murders and fornications she seduceth the world. Therein is manifested the glory of my Father, who is truth.
(This wine is such that its virtue radiateth through the cup, and I reel under the intoxication of it. And every thought is destroyed by it. It abideth alone, and its name is Compassion. I understand by "Compassion," the sacrament of suffering, partaken by the true worshipers of the Highest. And it is an ecstasy in which there is no trace of pain. Its passivity (=passion) is like the giving-up of the self to the beloved.)
—The Vision and the Voice, 12th Aethyr, Aleister Crowley.

The spelling of her Name as 'Babalon' is not revealed until the vision of the 10th Aethyr, where it is used to banish the forces of Choronzon. The discovery of the spelling represents Crowley successfully crossing the Abyss, and entering into the Sphere of Binah, which is also attributed to Babalon.

[frater H]

Afterlife
The nature of the afterlife which the dead person enjoyed is difficult to define, because of the differing traditions within Ancient Egyptian religion. In the Book of the Dead, the dead were taken into the presence of the god Osiris, who was confined to the subterranean Duat. There are also spells to enable the ba or akh of the dead to join Ra as he travelled the sky in his sun-barque, and help him fight off Apep.[35] As well as joining the Gods, the Book of the Dead also depicts the dead living on in the 'Field of Reeds', a paradisaical likeness of the real world.[36] The Field of Reeds is depicted as a lush, plentiful version of the Egypt of the living. There are fields, crops, oxen, people and waterways. The deceased person is shown encountering the Great Ennead, a group of gods, as well as his or her own parents. While the depiction of the Field of Reeds is pleasant and plentiful, it is also clear that manual labour is required. For this reason burials included a number of statuettes named shabti, or later ushebti. These statuettes were inscribed with a spell, also included in the Book of the Dead, requiring them to undertake any manual labour that might be the owner's duty in the afterlife.[37] It is also clear that the dead not only went to a place where the gods lived, but that they acquired divine characteristics themselves. In many occasions, the deceased is mentioned as "The Osiris - [Name]" in the Book of the Dead.


Two 'gate spells'. On the top register, Ani and his wife face the 'seven gates of the House of Osiris'. Below, they encounter ten of the 21 'mysterious portals of the House of Osiris in the Field of Reeds'. All are guarded by unpleasant protectors.[38]
The path to the afterlife as laid out in the Book of the Dead was a difficult one. The deceased was required to pass a series of gates, caverns and mounds guarded by supernatural creatures.[39] These terrifying entities were armed with enormous knives and are illustrated in grotesque forms, typically as human figures with the heads of animals or combinations of different ferocious beasts. Their names—for instance, "He who lives on snakes" or "He who dances in blood"—are equally grotesque. These creatures had to be pacified by reciting the appropriate spells included in the Book of the Dead; once pacified they posed no further threat, and could even extend their protection to the dead person.[40] Another breed of supernatural creatures was 'slaughterers' who killed the unrighteous on behalf of Osiris; the Book of the Dead equipped its owner to escape their attentions.[41] As well as these supernatural entities, there were also threats from natural or supernatural animals, including crocodiles, snakes, and beetles.[42]

[frater H]

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The Great Work
From Thelemapedia

Categories: Thelemic terms


Thelema
Terms & Concepts
The Book of the Law
Numbers in Thelema
Aleister Crowley
Nuit | Hadit | Horus
Babalon | Chaos
Aiwass | Ankh-af-na-khonsu
Agape
Magick
True Will
93
Holy Guardian Angel
Stele of Revealing
Body of Light
Abrahadabra
Aeons
City of the Pyramids
Lust of Result
Night of Pan
Saying Will
The Great Work
Secret Chiefs
Holy Books of Thelema
The Great Work (lat: Magnum Opus), within Thelema, is the process of attaining Knowledge and Conversation of the Holy Guardian Angel and learning and accomplishing one's True Will. The concept originates as far back as Medieval alchemy, and came to Thelema through Hermetic Magic informed by the Qabalah.


Table of contents [hide]
1 In the Qabalah
2 Eliphas Levi and the Golden Dawn
3 Crowley's Interpretation in the New Aeon
4 References
[edit]
In the Qabalah
The term "great work" does not exist in classic Qabalistic texts such as the Zohar or Sepher Yetzirah. However, the concept appears in the writings of Qabalists throughout the Renaissance:

Do not pray for your own needs, for your prayer will not then be accepted. But when you want to pray, do so for the heaviness of the Head. For whatever you lack, the Divine Presence also lacks.
This is because man is a "portion of God from on high." Whatever any part lacks, also exists in the Whole, and the Whole feels the lack of the part, You should therefore pray for the needs of the Whole. (from a disciple of the Kabbalist R. Israel Baal Shem Tov)
The classic Jewish Kabbalist is less concerned about the Great Work as a manifestation of "True Will" than he or she is as a part of bringing the world back to the state which the Creator intended. Thus one finds current Jewish Kabbalistic movements such as the Kabbalah Center in Jerusalem recruiting new "converts" to Kabbalah (such as Madonna) in an attempt to bring each new Kabbalist into their concept of the Great Work. As more individuals come into the Kabbalistic system, the closer the world comes to perfection as was originally conceived in the Kabbalistic scheme.

[edit]
Eliphas Levi and the Golden Dawn
Eliphas Levi, the first of the modern "ceremonial magicians" and predecessor to the "Golden Dawn" defined the Great Work thus:

The magnum opus is pre-eminently the creation of man by himself, that is, the full and complete conquest which he can make of his faculties and his future; it is pre-eminently the perfect emancipation of his will.
The modern incarnation of the Golden Dawn defines the Great Work as "a term borrowed from alchemy's magnum opus. Refers to the path of human spiritual evolution, growth and illumination, which is the goal of ceremonial magic."

[edit]
Crowley's Interpretation in the New Aeon
Like the Golden Dawn, Thelemites view the Great Work, at least with respect to the individual magician, as being the quest for Knowledge and Conversation of the Holy Guardian Angel. However, Crowley never lost sight that the individual Great Work contributes ultimately to the Great Work of the Universe:

The first condition of membership of the A.'.A.'. is that one is sworn to identify one's own Great Work with that of raising mankind to higher levels, spiritually, and in every other way. (Magick Without Tears, ch. 9)
It was the practice of Thelemites at the Abbey of Thelema in Cefalu, after "saying Will before Meat," to add the question, "What is the Great Work?" (MTP, ch. 13)

[frater H]

Holy Guardian Angel
From Thelemapedia

Categories: Thelema | Thelemic terms


Thelema
Terms & Concepts
The Book of the Law
Numbers in Thelema
Aleister Crowley
Nuit | Hadit | Horus
Babalon | Chaos
Aiwass | Ankh-af-na-khonsu
Agape
Magick
True Will
93
Holy Guardian Angel
Stele of Revealing
Body of Light
Abrahadabra
Aeons
City of the Pyramids
Lust of Result
Night of Pan
Saying Will
The Great Work
Secret Chiefs
Holy Books of Thelema
The Holy Guardian Angel is representative of one’s truest divine nature. The term is equivalent with the Genius of the Golden Dawn, the Augoeides of Iamblichus, the Atman of Hinduism, and the Daemon of the gnostics.

In the system of Magick, the single most important goal is to consciously connect with one’s HGA, a process termed “Knowledge and Conversation.” By doing so, the magician becomes fully aware of his own True Will. For Aleister Crowley, this event was the single most important goal of any adept:

It should never be forgotten for a single moment that the central and essential work of the Magician is the attainment of the Knowledge and Conversation of the Holy Guardian Angel. Once he has achieved this he must of course be left entirely in the hands of that Angel, who can be invariably and inevitably relied upon to lead him to the further great step—crossing of the Abyss and the attainment of the grade of Master of the Temple. (Magick Without Tears, Ch.83)
Table of contents [hide]
1 The Sacred Magic of Abramelin the Mage
2 HGA and Black Magick
3 Methods of Achieving K&C
4 HGA in writing
5 See also
6 External links
7 References
[edit]
The Sacred Magic of Abramelin the Mage
Crowley became aware of the book entitled The Sacred Magic of Abramelin the Mage from George Cecil Jones, a member of the Golden Dawn. The book describes the full procedure for “Knowledge and Conversation” and gave him the term "Holy Guardian Angel." Crowley sums up the book in The Equinox of the Gods:

The aspirant must have a house secure from observation and interference. In this house there must be an oratory with a window to the East, and a door to the North opening upon a terrace, at the end of which must be a lodge. He must have a Robe, Crown, Wand, Altar, Incense, Anointing Oil, and a Silver Lamen. The terrace and lodge must be strewn with fine sand. He withdraws himself gradually from human intercourse to devote himself more and more to prayer for the space of four months. He must then occupy two months in almost continuous prayer, speaking as little as possible to anybody. At the end of this period he invokes a being described as the Holy Guardian Angel, who appears to him (or to a child employed by him), and who will write in dew upon the Lamen, which is placed upon the Altar. The Oratory is filled with Divine Perfume not of the aspirant's kindling.
After a period of communion with the Angel, he summons the Four Great Princes of the Daemonic World, and forces them to swear obedience.
On the following day he calls forward and subdues the Eight Sub-Princes; and the day after that, the many Spirits serving these. These inferior Daemons, of whom four act as familiar spirits, then operate a collection of talismans for various purposes. Such is a brief account of the Operation described in the book.
This book clearly had a powerful impact on Crowley, who adopted its general terms and concepts, and applied it to his own system developed in the A.'.A.'. Moreover, he actually attempted the full procedure as described in the book, which resulted in the purchase of Boleskine House and his Abramelin Operation.

[edit]
HGA and Black Magick
Crowley felt that attaining Knowledge and Conversation was so important, that he staked the claim that any other magical operation was, in a sense, evil. In Book 4 (Ch. 21) he explains:

As was said at the opening of the second chapter, the Single Supreme Ritual is the attainment of the Knowledge and Conversation of the Holy Guardian Angel. It is the raising of the complete man in a vertical straight line...Any other operation is black magic...If the magician needs to perform any other operation than this, it is only lawful in so far as it is a necessary preliminary to That One Work.
He then softens his position somewhat:

There are, however many shades of grey. It is not every magician who is well armed with theory. Perhaps one such may invoke Jupiter, with the wish to heal others of their physical ills. This sort of thing is harmless, or almost so. It is not evil in itself. It arises from a defect of understanding. Until the Great Work has been performed, it is presumptuous for the magician to pretend to understand the universe, and dictate its policy.
The implication is that only magick devoted to the spiritual evolution of the individual and their attunement to the global and cosmic Will is honorable and in line with the ultimate goals of Thelema. Any magick that is self-serving or results-oriented is regarded as impure and in contradiction to the necessary evolution of the species.

[edit]
Methods of Achieving K&C
Crowley said that the Abramelin procedure was not the only way to achieve success in this endeavor:

It is impossible to lay down precise rules by which a man may attain to the knowledge and conversation of His Holy Guardian Angel; for that is the particular secret of each one of us; as secret not to be told or even divined by any other, whatever his grade. It is the Holy of Holies, whereof each man is his own High Priest, and none knoweth the Name of his brother's God, or the Rite that invokes Him. (Book 4, "One Star in Sight")
Since the operation described in “Abramelin” is so complex and requires time and resources not available to most people, Crowley wanted to provide a more accessable method. While at the Abbey of Thelema in Italy, he wrote Liber Samekh, a ritual designed specifically for attaining the Knowledge and Conversation with one’s HGA. In his notes to this ritual, Crowley sums up the key to success: “INVOKE OFTEN.”

He also explains, in more detail, the general mystical process of the ritual:

The Adept will be free to concentrate his deepest self, that part of him which unconsciously orders his true Will, upon the realization of his Holy Guardian Angel. The absence of his bodily, mental and astral consciousness is indeed cardinal to success, for it is their usurpation of his attention which has made him deaf to his Soul, and his preoccupation with their affairs that has prevented him from perceiving that Soul.
The effect of the Ritual has been
to keep them so busy with their own work that they cease to distract him;
to separate them so completely that his soul is stripped of its sheaths;
to arouse in him an enthusiasm so intense as to intoxicate and anesthetize him, that he may not feel and resent the agony of this spiritual vivisection, just as bashful lovers get drunk on the wedding night, in order to brazen out the intensity of shame which so mysteriously coexists with their desire;
to concentrate the necessary spiritual forces from every element, and fling them simultaneously into the aspiration towards the Holy Guardian Angel; and
to attract the Angel by the vibration of the magical voice which invokes Him.
The method of the Ritual is thus manifold.
Another detailed description of the general operation is given in The Vision and the Voice, Aethyr 8.

[edit]
HGA in writing
Crowley often wrote about his own experiences with his Holy Guardian Angel, whom he often referred to as Adonai, but also claimed to be Aiwass, the intelligence that dictated The Book of the Law to him in 1904. The key texts regarding the HGA are:

Liber Cordis Cincti Serpente— An account of the relations of the aspirant and his Holy Guardian Angel.
The Wake World— A poetical allegory of the relations of the soul and the Holy Guardian Angel.
Liber Samekh— Being the Ritual employed by the Beast 666 for the Attainment of the Knowledge and Conversation of his Holy Guardian Angel, along with many comments.
The 8th Aethyr in The Vision and the Voice—describes the Angel and the operation for attaining K&C.
[edit]
See also
Abramelin
Attainment
[edit]
External links
The Book of the Sacred Magic of Abramelin the Mage
The Vision and the Voice by Aleister Crowley
[edit]
References
Crowley, Aleister. (1997). Magick: Book 4. 2nd ed. York Beach, Me. : S. Weiser.
___. (1982). Magick Without Tears. Phoenix, AZ : Falcon Press
___. (1998). The Vision & the Voice : the Equinox, IV(2). York Beach, Me. : Samuel Weiser.

[iAMtheMA!]

you should have a separate site, like ...wiki and me ...or the key is in wiki ...or lost wiki's (blame me) ...with a link in your signature, 'cause then it's more of an invitation than a WAKE THE FUCK UP! are there no mods in this bitch? i've heard of double-posting and copy/pasting with nothing added by the user ...but this thread is bumped every other second. kind of annoying. like a page full of spamming threads. go email blair or something. hey, if you're right then he may (sarcasticly) confirm your theory as well. we're not the source, you're not the source, so unless you go there with what you have, you're just peddling and trying to shove down our throats some sort of choose your own wiki adventure WHILST drawing phantoms lines as a means to conclude for yourself that you are indeed AWAKE.

[frater H]

right dick wad youn have a choice to read whatever the fuck you want nobodies forcing any thing down anyones throat if theres someththing shoved down someones throat its your own bullshit that you choose to believe in so .

why did you even bother to reply
go read some other thread
by the way who cares what you think ,
and who care s what i think

one thing is for shure if theres someone with his head stuck up his ass
its you.

[frater H]

have read this
http://toolnavy.com/showthread.php?t=124872

[frater H]

i cant see what this is helping in solving anything
clearly someones missing the point , tell me this were you aware that the numerology on aenima was the numerology of maat?

secondly another clue for you fools out there, with your heads stuck in your ass

have you noticed that if you devide the duration of the grudge on lateralus into 2
you get ......................
...............................
..............................
...............................418

does this seem od or im i just fooling myself

i gues they just thought it would be cool

to use numeric values in there albums.


dickheads

[iAMtheMA!]

calm down guy, i'm not attacking you or the theory, only where you think problem 8 will be on the next album, and i'm merely commenting on the means by which you choose to convey your theory. the pieces may all be there but if you want to get beyond your own inner-space, tunnel-vision, step-by-step, oh-i-forgot-to-tell-you, and-by-the-way-this-may-also-be-important, fuck-the-edit button, this-adds-to-my-post-count-AND-bumps-my-all-important-theory (even though only 3 others have commented, once or twice ...over four fuckin pages), link link link copy paste blah blah blah ...if you wanna do more than just that ...then make the idea more elegant and comprehensible for OTHERS to come to ...i may want to understand it more. oh but yeah "btw who cares what you think" ...is exactly how i see you coming to explaining this idea. i'm obviously, and only SIMPLY, not getting it because i find your way of communicating this shit ...a little ...all over the place. wiki's something i pass over MOST of the time ...especially on occult babble. therefore. ...i'd have to really care, give a shit, or have the slightest hope that you may know what the hell you're talking about ...to juggle this stuff ...until enlightened. and i realize that it's my shortcoming, and this little back a forth here is using time i could've used to digest your theory ...but ...seriously, fuck you (esp to the "clearly" remark - asshat move, my friend). read between the lines. obviously i want to see how what you're babbling about is relevant to anything ...but right now it's just you shitting 'gainst a wall, and then telling the wall to wake the fuck up. why is it when i suggest you go to blair with it that you started calling me a bunch of names and taking shit A. personally and/or B. seriously? i know - or can only assume - that you spent a lot of time on this. but calm the fuck down. get organized. we're not all self-proclaimed magis yet.

[frater H]

The three aspects of Babalon

Babalon is a complex figure, although within Thelemic literature, she has three essential aspects: she is the Gateway to the City of the Pyramids, the Scarlet Woman, and the Great Mother.
[edit]Gateway to the City of Pyramids

The Seal of Babalon
Within the mystical system of the A∴A∴, after the adept has attained the Knowledge and Conversation of his Holy Guardian Angel, he then might reach the next and last great milestone—the crossing of the Abyss, that great spiritual wilderness of nothingness and dissolution. Choronzon is the dweller there, and his job is to trap the traveler in his meaningless world of illusion.
However, Babalon is just on the other side, beckoning. If the adept gives himself totally to her—the symbol of this act being the pouring of the adept’s blood into her graal—he becomes impregnated in her, then to be reborn as a Master of the Temple and a saint that dwells in the City of the Pyramids. From Crowley's book Magick Without Tears:

[frater H]

http://en.wikipedia.org/wiki/File:Babalon_seal.png

[frater H]

30 June, 2012 (05:02pm)


TOOL NEWSLETTER
JUNE, 2012 E.V.
TALES FROM THE LOFT
(PART THREE)
As for track #13, "Faaip De Oiad", which in the Enochian language translates as "Voice(s) of God", there's an interesting story behind it that I'd like to share with you (though not in its entirety). Originally, Danny's segue on Lateralus was going to be a much more elaborate production, complete with Enochian verses, Calls, etc. (These were later published in my book "IJYNX" as" Da'ath of Babalon").


say what?

[frater H]

choronzon is the female half of shugaal
each of them has the numeric value of 333
333+333=666

[frater H]

the 23 aethyr

Also, though I be planted so firmly upon the earth, yet is my blood wine and my breath fire of madness. With these wings, though they be but little, I lift myself above the crown of the yod12, and being without fins I yet swim in the inviolate fountain13.


sounds simialar to this part



to witness the beauty, to bathe in the fountain,
to swing on the spiral
of our divinity and still be a human.

With my feet upon the ground I lose myself
between the sounds and open wide to suck it in,

[frater H]

whats weird about lateralus is that the 1st track is grudge and if you devide the duration into 2 you get 4.18-the vision and teh voice with the 3o enochian aethers

the the title track lateralus seems like its the climax of the album ,
track 9( the 9th sephiroth is yod) coincidence?

the duration of latera;us is 9.24
924 = Beetle of Midnight

23 aethyr

In the brightness of the stone are three lights, brighter than all, which revolve ceaselessly2. And now there is a spider's web of silver3 covering the whole of the stone. Behind the spider's web is a star of twelve rays4; and behind that again, a black bull, furiously pawing up the ground. The flames from his mouth increase and whirl, and he cries: Behold the mystery of toil, O thou who art taken in the toils of mystery5. For I who trample the earth thereby make whirlpools in the air; be comforted, therefore, for though I be black, in the roof of my mouth is the sign of the Beetle6. Bent are the backs of my brethren, yet shall they gore the lion with their horns. Have I not the wings of the eagle, and the face of the man?

[frater H]

Pi (π): The sixteenth letter of the Greek alphabet, used in mathematics as symbol of the ratio between a circle’s circumference and its diameter. Pi therefore represents an essential component of the formula of the squaring of the circle, expressed by the equation π x D = C, or, conversely, π = C/D. Metaphysically speaking, the squaring of the circle represents the Zayonic division of the circle of infinity by the polar opposition of twin principles, as well as the Maatian return of the twins to infinity by means of the application of the power of π to their synergetic interaction. The power of π is the power of the Kundalini, which fuses together soul and spirit, that is, the Scarlet Woman and the Beast, so they become a Khabs in a Khu. Pi is a constant, infinite number. It may be approximately expressed by the ratio of 22/7, and is given to the sixth decimal place as 3.141593 by the riddle contained in Liber AL vel Legis III: 47. The solution of this riddle lies in the configuration of letters and numbers arranged in the grid that appears on page 16 of the book’s manuscript.

[frater H]

Scarlet Woman (the): The name “Scarlet Woman” originates from St. John’s book of Revelation, in which it is given to the great prostitute Babylon (Rev. 17: 17–18). Together with the “Beast” she represents the force ruling the material universe. The name Babylon derives from the Hebrew word “Babel”, meaning “anointed” as well as “mix, mingle and confuse”. As manifested existence, she is multiplicity, the illusory Maya of Eastern mysticism. Her name is also related to the ancient Egyptian word for the soul, Ba.

Revelation tells the allegorical story of her initiatory death, through which she is taken as bride by the Lamb and transfigured into the heavenly Jerusalem (or renewal of the Word at the spring equinox of Aries – see Revelation, 21). The nuptial feast that follows the hour of doom of the Scarlet Woman is a celebration of the soul’s victory over death and world illusion, of her union with the eternal. Aleister Crowley spelt the name Babylon as “Babalon”, the Chaldean word for “gate of the god”, a name which qabalistically adds to 156. This is also the number of Zion, the sacred mountain that the Initiate must ascend to triumph over the “word of Sin” that is “Restriction”. Liber AL vel Legis reveals that Hadit, the giver of life, manifests Nuit as the Scarlet Woman, the supernal Khu and creative world of Briah.

In the Scarlet Woman “is all power is given” (Liber AL vel Legis I: 15). This power is that of Hadit, the serpent or 93 current animating the life of the Scarlet Woman and radiating from the Khabs contained within her. Above the Abyss the Scarlet Woman is the body of Nuit, the company of heaven, the intelligence referred to as Neschemah in the Qabalah. In her underworld aspect the Scarlet Woman is manifested as the great dragon, the material and visible world (Assiah) at the base of the Tree. Therein dwell man, demons, and the Qliphoth or shells of the dead. However, in earlier Sumerian depictions of the Scarlet Woman it is clear that the underworld was not then seen as a place of evil ipso facto – as it was in later times when scriptural interpretation became the sole means of conveying knowledge. The descent of the Scarlet Woman into the underworld was originally not seen as a “fall from grace”, but as a heroic act. By so doing, she is able to awaken the power of the Beast for the purposes of Initiation.

[frater H]

this seem like the same process represented on the cover of lateralus.

[frater H]

the strange thing about choronzon is that they havent mentioned the name once on their albums but i have this feeling that the new album will actually mention choronzin in the lyrics.

[frater H]

the other thing about lateralus is the total duration of the album is 78.51


Crowley, being the Qabalist that he was, labored to discover Aiwass's number within the system of gematria. Initially he believed that it was 78: "I had decided on AIVAS = 78, the number of Mezla, the influence from the highest unity, and therefore suitable enough as the title of a messenger from Him." [12] After receiving a letter from a stranger, the typographer Samuel A. Jacobs, whose Hebrew name was SHMUEL Bar AIWAZ bie YACKOU de SHERABAD, Crowley asked the Hebrew spelling of AIWAZ; to Crowley's astonishment and delight it was OIVZ, which equated to 93, the number of Thelema itself. Crowley remained perplexed, though, since the spelling of the name in AL was "Aiwass" not "AIVAS", which does not add up to 93. However, when Crowley decided to use the Greek Qabalah, he discovered that ...
"...its value is 418! and this is the number of the Magical Formula of the Aeon. It represents the practice of the Book as 93 does the theory. It is now evident with what inconceivable ingenuity AIWAZ has arranged his expression. He is not content to give one spelling of his name, however potent; he gives two which taken together are not merely twice as significant as either alone, but more so, in a degree which is beyond me to calculate." [12]
http://en.wikipedia.org/wiki/Aiwass

[frater H]

this is a bit of subject but still interesting

also interresting is that on schism is mentioned ( watch the temple topple over) which seem exactly the same as the description of the path dadagiel of the tree of death the averse side of the tree of life.

so this seems strange , but it looks like its indicating the voltigeurs of the the path of quelelfi.

148...74 x 2

BABALON THE GATE OF THE GOD ON
GODDESS WHO DEVOURS
PATHWAYS OF THE GREAT INANE
SECRET OF THE DARK RITE
SET-HORUS IS MANIFEST
TREASURE ROOM OF THE TOWER
THE EVOLVING COSMIC NET
THE FORMULA OF THE LEAPERS
THE LEAPERS BEHIND THE TREE
THE SEER IN DARKNESS
THE GATEWAY AT THE BACK OF THE TREE

[frater H]

so does anyone see a pattern forming here?

[frater H]

this applies to all the albums,

aenima
so you get stinkfist 5.11 the number of maat
intermission 0.56 the number of maat

lateralus

the grudge 8.36/2=418 lateralus 9.24/2=224 the number of maat
78.51=aivas

10 000 days
vicarious 7.07/2=3.33 and viginti tres (23)5.02/2=2.31

[iAMtheMA!]

if you're gonna bring track durations into decimal time then you need to talk about them in terms of total hours OR total minutes OR total seconds. dividing standard time as a single number doesn't make sense on its own, i.e. the minutes don't automatically represent whole numbers, and the seconds don't automatically represent its decimal values ...the "standard" isn't base-10, therefore ALL of these examples will become incongruent calculations > which shouldn't even be "coincidental?" for anything, it's just basic human error/oversight...

stinkfist
5 minutes and 11 seconds
= 0.086389 hours = 5.183 minutes = 311 seconds
[right in two = 0.043194 hrs = 2.59167 minutes = 155.5 seconds]

intermission
0 minutes and 56 seconds
= 0.0156 hours = 0.93 minutes = 56 seconds
[right in two = 0.0078 hours = 0.465 minutes = 28 seconds]

the grudge
8 minutes and 36 seconds
= 0.143 hours = 8.6 minutes = 516 seconds
[right in two = 0.07167 hrs = 4.3 minutes = 258 seconds]

lateralus, track
9 minutes and 24 seconds
= 0.157 hours = 9.4 minutes = 564 seconds
[right in two = 0.07833 hrs = 4.7 minutes = 282 seconds]

lateralus, album
78 minutes and 51 seconds
= 1.314167 hours = 78.85 minutes = 4731 seconds
[right in two = 0.6570835 hrs = 39.425 minutes = 2365.5 seconds]

vicarious
7 minutes and 7 seconds
= 0.11861 hours = 7.1167 minutes = 427 seconds
[right in two = 0.059305 = 3.55835 minutes = 213.5 seconds]

viginti tres
5 minutes and 2 seconds
= 0.08389 hours = 5.03 minutes = 302 seconds
[right in two = 0.04194 hours = 2.5167 minutes = 151 seconds]

you can't keep throwing all of these arbitrary values and symbols around to match your theories, i mean c'mon. ...where will it end?

[lotus.]

Good point (http://toolnavy.com/member.php?u=27407)! there seems to be no end, it's just like an infinity! All those extented versions and sudden changes in lyrics, all these eyes that look at me behind my back, I felt them and now I can't stand any of it, this will become a hated thing, occult is dead.
King Menephta, Egypt

In 1300 BC, King Menephta came home from battle after successfully beating the Libyans. To celebrate his success, he asked his men to chop off the penises of each member of the defeated army. He arrived home with 13,000 penises. His ancient monument at Karnak has a detail of which penis belonged to whom -- Libyan generals, Libyans, Sirculians, Etruscans, and Greeks.

dip them in wax and make penis candles...

makes for a nice house warming or birthday present.

[frater H]

rotation for faaip de oaid is close to what it silence in Triad.. listen live versions of Triad and see.

there seems to be something strange about triad, but to understand how to aproach , you need to see everything as a whole.
that seems to be the main idea behind it all monism.


but i dont understand what you mean with :


rotation for faaip de oaid is close to what it silence in Triad..

[frater H]

Edit: if you are a child, your heart is the size of your clenched fist. If you're an adult, it's roughly the size of your two fists put together.

i dont get it could you elaborate a bit , your moving a bit to fast.

[frater H]

the other thing abouit triad , at the begonning of teh track it sound simialar to ions.
so maybe you need to do the same as what was done with 10 000 days and wings.
but i think that the answer would reveal itself after the first parts of the problem is solved.

[frater H]

like i have said in the start of this thread , i found the solution to the puzzle, well most of it i anyway, but im not going to spoil it .
so im giving one piece of information at a time.

because its kind of obvious to see where this is going.

so far i have given pretty important pieces of information to start with .

even now at this moment im wondering if what i have found is all there is, everytime i look for something there seem to be another part that i discover.

[frater H]

interesting, firstly what you aare noticing on grudge jambi and aenima sounds simialar to what the neuroscientist said that solved the confguratio of the tree of lifee on 10k days.

he said there is a pulsating rythm going through the album, the same type of one heard in the end of teh grudge.

see i dont have multitrack recording software so i cant check this out, but check aenima cesaro summibility and diie eier von satan, cesaro summability and die eier von satan over aenima and i think ions aswell.(im confident on this one)



and please explain the pre gap thing i dont understand ?

[frater H]

sorry i said aenima i meant pushit

[frater H]

when bands make an album they usually have more songs than they need to put onto the album

and like ive mentioned the thing to keep in mind is the whole.

so maybe what is happening at the end is basically another song that is being masked by silence.

[frater H]

i cnat make out what it is exactly but before the silence there is a mixture of something that is definitly part of the new album, something that sounds like lipan(not exactly slightly different), and something that sounds like the intro of vicarious(the bell sounds), and something that sounds like ions from aenima.

so if im not wrong this would be perfect evidence of the holism cocept is true.

so personally i must say that the last part is something off the new album.


good one , i didnt notice that because the last time i listened to triad till the end was years ago.

[frater H]

okay interesting, so heres another clue , if you havent noticed it remember the albums are devided into 2 with the central track in the middle in the order 8,7,6,5


what if?






the numbers represent geometrical figures

[frater H]

see i dont understand why noone has notced this before, its all over danny` drumkit

[iAMtheMA!]

go fish

[frater H]

rieman hypothesis zeta :
http://en.wikipedia.org/wiki/File:Zeta_polar.svg

swings back to a negative number.

Means TooL wanted to do a pre-gap song. But pre-gap before the first song is not ultimate as it is done before.
TooL tried to create a pre-gap for a song in the middle of the album.

Didn't work out. But the recorded song is printed on failed attempts (?!?).



much better explanation, so i gues it would then have been placed infront of intermission on aenima

[frater H]

maybe coincidence , but maybe he`s giving a clue , like i said earlier seeing things as a whole

viginti tres is the track after right in two.

[frater H]

what do you mean by taking a turn at eon blue apocalypse

funny thing you mention parbols end which leads to parabola ,
this is something i didnt realize when it happened because i didnt read see the deck of thoth at that time, when i heard the intro part where the volume swells i got this picture of the chariot card .

so basically what i want to know is if this happend to anyone else

this occurered alot of the time but i didnt realize it because i wasnt aware of either the information it was related to or just the fact that it could occur in the first place.

sometimes when your listening to music theese random things come into your thoughts and you think that its just thoughts but i think there is sometning more to it
(maybe something to do with magick and conscioussness)

[frater H]

and those geometric figures what could they mean or are they just figures?

(8,7,6,5)

[frater H]

what do we get and octogram , heptagram, hexagram and a pentagram

[frater H]

what could this mean?

[frater H]

briliant , now why didnt i notice that before.

your definitly on to something

[iAMtheMA!]

yeah i wonder that too - especially with all the clone and decoy talk

[frater H]

what would that be?

[frater H]

maybe its just me but listen to parabola on from the first chorus to the second

i here something in the background

[frater H]

sounds like someone talking

[iAMtheMA!]

no shit.

[frater H]

so what is it?

(i noticed this a few years ago but forgot about it)

[iAMtheMA!]

it was probably when you read one of the thousands of threads about whispers or "what is he saying?" or whatever.

[frater H]

another funny thing is that in the lyrics of lareralus after 4.40 he emphasises the word to(2)
and the rythm of the drums start palyning this staggered beat, maybe its supposed to be delayed by 2 milliseconds on that part.
(but the 2 part is definitly some sort of clue)



the silent part in the middel of ticks and leeches , seems odd, the whole song is heavy, and then at that part theres a 2minute mellow part before it returns back to the start , cant find anything that would fit in there on lateralus , but it seems as if something is missing there.

[frater H]

that talking in the background of parabola sounds like something familiar , im just not sure what it could be

[zombie]

so I have been analyzing the quieter parts of Lateralus (using a 24bit flac hdcd rip) trying to see if theres anything to the machine sounds (like at the beginning of the grudge and at the end of the album). I'm trying to see if anything was hidden using steganography. so far nothing to report.

[zombie]

http://metalbastard.files.wordpress.com/2009/06/aenima2.jpg


http://metalbastard.files.wordpress.com/2009/06/aenima1.jpg


BMB said these have some special meaning.

[frater H]

recap :

the albums are evided into 2 to give you the sequence 8,7,6,5
the albums have numeric values on them aenima 511 maat ,lateralus 418 vision and the voice, 10 k days 333 =choronzon.
8,7,6,5 also represents geometrical figures.

so does anyone understand where this is leading to.

[frater H]

recap :

the albums are evided into 2 to give you the sequence 8,7,6,5
the albums have numeric values on them aenima 511 maat ,lateralus 418 vision and the voice, 10 k days 333 =choronzon.
8,7,6,5 also represents geometrical figures.

so does anyone understand where this is leading to.

oh and of course the 4 elements aenima earth , lateralus air, 10kdays water and the new album fire
related to the 4 worlds assiah yetsirah briah atziluth.
and each album is suposed to be a tree of life.

[lotus.]

oh and of course the 4 elements aenima earth , lateralus air, 10kdays water and the new album fire
related to the 4 worlds assiah yetsirah briah atziluth.
and each album is suposed to be a tree of life.

i agree that aenima is earth and lateralus is air but think 10k days is fire and the new album will be water.

on tools original 10k days tour they opened with jambi and the backdrop screens were pure fire.

[frater H]

well maybe because you have to see it as a whole if you look at the albums seperately it doesnt make sense but if you put the pieces together you get a whole different thing on its own.

[lotus.]

water = healing, cleansing, and purification

In Wiccan covens, such water is used to consecrate the circle and all the tools within it. As you may expect, water is associated with the color blue, and the Tarot suit of Cup cards.

http://paganwiccan.about.com/od/wiccaandpaganismbasics/a/elements.htm

[frater H]

water = healing, cleansing, and purification



http://paganwiccan.about.com/od/wiccaandpaganismbasics/a/elements.htm





In modern-day Wicca and Paganism, there is a good deal of focus on the four elements – Earth, Air, Fire, and Water. A few traditions of Wicca also include a fifth element, which is Spirit or Self.

5th element (the geometry i was talking about 8,7,6 5)

theres a lot of things included in the 4 albums , not just one theory.

[frater H]

http://metalbastard.files.wordpress.com/2009/06/aenima2.jpg


http://metalbastard.files.wordpress.com/2009/06/aenima1.jpg


BMB said these have some special meaning.



could be anagrams or maybe the catalogue number underneath the picture or the total of all the pictures?

[frater H]

One thing I noticed is that Parabol is a center of LaTeRalus, what is new is that the album seems to take a turn in Eon Blue Apocalypse and this turn ends in the end of Parabol (Notice the guitar tone)!






as i was thinking about the whole scheme of things and what could be left out i noticed that eon blue apocalypse doesnt seem to fit anywhere onto another song ,

but i did notice something else

if you take faaip de oiad and place it onto parabol it fits , and if you import parabola o nto the same project the clip still fits
then you place mantra at 27 secs or so and aonther time at the last part where he says


``all this``

[zombie]

as far as album themes go, Undertow's is water. It starts with water sounds (maybe drowning sounds) at the beginning of intolerance. Swamp song, Flood, Undertow.

[frater H]

as i was thinking about the whole scheme of things and what could be left out i noticed that eon blue apocalypse doesnt seem to fit anywhere onto another song ,

but i did notice something else

if you take faaip de oiad and place it onto parabol it fits , and if you import parabola o nto the same project the clip still fits
then you place mantra at 27 secs or so and aonther time at the last part where he says


``all this``



faaip de oiad is the noises heard in the backbround that everybody thought was whispers.

so this is the same thing that was done with wings 10000 days and viginti tres, its done on aenima as well and would also be done on the next album.

so as you can see everything is connected

so i gues that if problem 8 ws a hidden track on aenima , and teh track i mentioned that was in the start of lateralus is ahidden track then there would also be one on 10k days and teh new album.

[frater H]

undertow is not included in the concept, i the newsletter blair mentioned that when they were working on aenima they started planning the ultimate hidden track.

[frater H]

and what are those codes, names and amount of the albums inside the aenima booklet,?

all my musiic is on the pc

[frater H]

Put up a playlist of:
10,000 Days
LaTeRaLus
Ænema

Well this goes for anyone interested enough though:

Notice if you will
the number of tracks, and track titles, allso translate few things like "Viginti Tres" into Twenty Three. Put an "anchor" into (Reflection)22, let the light right through, remember what (Jimmy)33, has in lyrics? "hold your light", "11", so track 11(Viginti Tres).. track 23(Triad)!

These are assumptions, and my thoughts are possibly leading me to think that there's an order in this chaos.

Note "to self" vol.2
Having just two latest albums in order 10,000 Days then LaTeRaLus:
track 9(Intension) and track 16(Schism) are aligned, imho.. Between (Intension) & (Schism) is 6 tracks, and before (Intension) and after (Schism) there are 8 tracks, Should this be the way (Vicarious) video suggest to some, that these albums go aligned? Should 11 tracks be inside 13? Changing between albums and songs?




what do you mean exavctly and what is the date of the setlists you are talking about

what i see in the 2012 setlists is that at the beginning of the year they had a total of 10 traclks per show and at the end of teh year they had 9 and also at teh end of the year they were playing only old stuff (which isnt that comercial)


maybe the 9 has something to do with the next album with 9 tracks on it
15,13,11,9

[frater H]

did anyone check out the faaip de oiad thing imentioned?

[frater H]

less and less songs in the albums, but more longer songs, they kinda include new albums from old ones, but this is a terrible example for frater H. Oh well, 22 is the next song(comes back round full circle), something has to change, Does anyone remember how that Holy Gift tracklist was suppose to build up? Why it ain't in a Wikipedia site like Thomas?

22 the next song , do you mean23, aand what holygit tracklist?

the stinkfist thing is very important since that would be where tthe cycle repeats itself

[frater H]

heres another clue , see if you look at parabola combined with mantra and faaip de oiad, and count them as one track you end up with a total of 11 tracks on the album and that would make triad the last one, also it would now fit pon the tree of life

[frater H]

i see someting else in the february setlists,

[frater H]

looks like the montaulk monster
http://upload.wikimedia.org/wikipedia/en/8/8f/RhodeislandMonster.jpg

[frater H]

i tried reversing viginti tres and palcing it over rosetta stoned at 6.01-6.02, it seems as if it can work.
and the part where he says something like fransico is just before the part gyroscopes and infrared, which if you reverse it is forwardslash.

[iAMtheMA!]

it seems as if it can work.so - as far as you're concerned - it was 100% intended ..."here's another clue". are you the pope?

[frater H]

well maybe it doesnt work but , i tried

[frater H]

how did you get this arrangement, which setlists dis you use?

[frater H]

other thing i did notice , there seems to be something about the 8 thats importnt.
track 8 on opiate is opiate
on undertow-undertow
on aenima intermission
on lateralus if you include mantra on the combined track parabola the 8th is lateralus
on 10kdays rosetta stoned
so what would teh next album be

[frater H]

see i have been looking at this for a lomg time and still think theres something thats missing.
i noticed that these numbers 8,7,6,5 and 15,13,11,9 with the 4 elemnt , and the numeric values of maat on aenima the vision and the voice and babalon on lateralus, choronzon on 10kdays and the geometry of the numbers, octagram,heptagram,hexagram and pentagram plus the 4 worlds couldnt be the only thing to it all



so i thought about it and saw what i was missing had a simple expalnation,
now i want to tell you this but im also womndering why you havent noticed it before.



so should i tell you ?

[frater H]

see its simple actually, all you have to do is count,
well you need to use your imagination as well and includ the next album wth its ,
lets say 9 tracks for now

[frater H]

46 songs is what I am trying to look here, but there's 48 in these 4 releases and 2 songs are duplicants the others are (live) Third Eye and Pushit, which ones to drop out?

see this is almost right but the albums are aenima, lateralus,10kdays and new album
so 48 is correct but what does it mean, in what context, well 418 the numeric value of the grudge if you devide the duration into 2

see the thing ive been missing in the start was i nether saw anything enocgian about the numbers and teh albums which is strange becuas tool is all about enochian shit.

so what is this all about the Æthers 30 aethyrs +19 calls

=49 but the 19th call is supposed to be excluded and done silently.

shabang!

[frater H]

now how do all these calls fit into the amount of tracs from aenima to the last?

[frater H]

and why havent anybody noticed this?

[frater H]

and theres still anothere piece missing see if you can fugure it out , it should be obvious by now

[frater H]

and i hope this isnt just me shitting against the wall and then tellingthe wall to wake the fuck up?

[frater H]

[QUOTE=frater H;

here you go guys i beat lateralus that last boss was hard but i won in the end here you go

this also applys to 10,000 days the letters line up perfectly diagonally if you dont believe me count them your self (include the spaces when you count) or copy this into wordpad and choose a mono spaced font like lucida console or fixedsys i would have uploaded this as a image so you could see exactly how it lines up but i clicked the file option thing and it didnt work

disposi T ion
reflecti O n
faaip de O iad
ticks and L eeches

latera L us
____tri A d

man T ra
th E patient

the g R udge
___par A bol

parabo L a
eon bl U e apocalypse
schi S m 3071950]




and leave commanderkeen alone, hes just a kid

[frater H]

i suppose they released salival as a clue because , until now i havent heard anyone talk about any of the things i mentioned so far.
only the wings viginti tres combination track thing and the tree of life configuration on it.

so the total of tracks on salival is 8 and the cover art is a representation of pushit on aenima(feeling the hands on my back again)

most of the content is old stuff, also a led zepplin cover is featured not any one but no quarter, which reminds me of all along the watch tower.

which is about the tarot( is there some kind of way out of here said the joker to the thief)
and led zepplin were also into the hermetic esoterics.

so the 8 tracks led zeplin and pushit symbolism is somekind of clue
the pushit mystery is probably the first thing it is supposed to give rise to.

there is somethimng on pushit something big and cool.
what could it be......................?

[frater H]

how to figure out how pushit fits into all of this?

[frater H]

so like i mentioned 48=aethers=vision and teh voice
how do they fit onto the tracks?

[frater H]

earth air water fire
assiah,yetsirah,briah,atziluth
8,7,6,5
15,13,11,9
48
418(vision and teh voice)
8,7,6,5(geometry)
octa-,hepta-,hexa- and pentagram
maat(nuit),aivas,choronzon,?
the tree of life

combotracks
aenima-?
lateralus -mantra parabola and faaip de oiad,
10k days-wings1+2 viginti tres,
new album-?

[frater H]

cool, why does aenima apear as the last song on most of the setlists and this one
important piece in putting everything together.

[frater H]

it appears for one sloppy reason.. "Flush it down" so what my little head keep telling me is that: Live setlists suggest the trackorder, so much you need to do is that you pull all songs under the Ænema song.. so that the list is reversed. The end of "Intension" sounds a lot like "Eon Blue Apocalypse" and makes me wanna play "The Patient" as the next track.

intension and patient definitly seems connected in a strange way

[frater H]

do you mean Crowley's Taro meaning when you speak about esoteric meaning of cards?

yes, all the stuff is crowley related with twist of some other stuff also, like kenneth grant, but i dont understand the qlipoths that well , and commet on that part

but yes crowley, vision and the voice = book of thoth

[frater H]

it appears for one sloppy reason.. "Flush it down" so what my little head keep telling me is that: Live setlists suggest the trackorder, so much you need to do is that you pull all songs under the Ænema song.. so that the list is reversed. The end of "Intension" sounds a lot like "Eon Blue Apocalypse" and makes me wanna play "The Patient" as the next track.

interesting

i dont wanna spoil anything , but im gonna mention it anyway.

the trick in connecting the 4 albums lies in aenima

you see you have the amount of tracks of each album
15
13
11
9

at first glance it all seems fine and working well,
but then i thought about it and looked at the 11 tracks on 10kdays
and how theuy fit onto the tree of life, this means that only 1 album has the right amoint of tracks corresponding to the sephiroth
which doesnt seem right , so i thiought how could one correct this?
the answer was simple the last album need 2 tracks to fit on the tree, and aenima has 4 too many, but if you take the last 2 tracks and add them to the last album
you end up with pair of albums with 13 tracs and a pair with 11

so if you do this you discover that you have .......... as your last track on aenima

[frater H]

Yeah I've read some Book Of Thoth, it took me somewhere but has since lost it's meaning. Those 2 songs into 10,000 Days, sounds interesting, maybe you're onto something. My wonderings are around double speed versions, now especially Lustmord remixes, so those 2 songs maybe? I thought maybe "Divorced" should be dragged into this, it is in some wierd way, a work of TOOL.




not onto the last album of the released ones, im tlaking about the unreleased new album


1. "Stinkfist" Keenan, Jones, Carey, D'Amour 5:11
2. "Eulogy" Keenan, Jones, Carey, D'Amour 8:28
3. "H." Keenan, Jones, Carey, D'Amour 6:07
4. "Useful Idiot" 0:39
5. "Forty Six & 2" 6:02
6. "Message to Harry Manback" 1:53
7. "Hooker with a Penis" 4:33
8. "Intermission" 0:56
9. "jimmy" 5:24
10. "Die Eier von Satan" 2:17
11. "Pushit" Keenan, Jones, Carey, D'Amour 9:55
12. "Cesaro Summability" 1:26
13. "Ænema" Keenan, Jones, Carey, D'Amour 6:39


1. "The Grudge" 8:36
2. "Eon Blue Apocalypse" 1:03
3. "The Patient" 7:13
4. "Mantra" 1:12
5. "Schism" 6:47
6. "Parabol" 3:04
7. "Parabola" 6:03
8. "Ticks & Leeches" 8:10
9. "Lateralus" 9:24
10. "Disposition" 4:46
11. "Reflection" 11:07
12. "Triad" 8:46
13. "Faaip de Oiad" 2:39


1. "Vicarious" 7:07
2. "Jambi" 7:27
3. "Wings for Marie (Pt 1)" 6:11
4. "10,000 Days (Wings Pt 2)" 11:13
5. "The Pot" 6:21
6. "Lipan Conjuring" 1:11
7. "Lost Keys (Blame Hofmann)" 3:46
8. "Rosetta Stoned" 11:11
9. "Intension" 7:21
10. "Right in Two" 8:55
11. "Viginti Tres" 5:02



1
2
3
4
5
6
7
8
9
10. "(-) Ions" 4:00
11. "Third Eye" ( listen (help·info)) Tool, Bill Hicks 13:47

[frater H]

Do you mean to even tracks into 11? 15, 13, 11, 9.. hmm I see how to get 3 albums with 11 tracks in them, and if you don't include 4 (demos) Ænima tracks and see the 3 albums as works of Justin, Danny, Adam and Maynard... would that be something?

what 4 demos?

[frater H]

so now the question how does the 48 calls fit onto the tracks?

[frater H]

otther interesting fact, 8+7+6+5=26
26=YHVH
the 4 albums(4 elements)

[frater H]

and the intersetting thing about salival is the album length is 82.55
8+2=10
5+5 =10
the important thing to remember about the tree of life is that it contains 10 sephiroth not 9 and not 11 but 10
11 is a higher octave of 1
the hands on the cover connected to the spine(10 fingers)
the album has 8 tracks
if you ascend the TOL from malkuth daath would be encounterd on the 8th step

[frater H]

other thing
faaip de oiad is mentioned in wiki as track 13 that needs to be placed in the center of the album usin the 16th step, the original central track is parabola, the track on which you use faaip de oiad, so the the 16th step was supposed to be a clue in dicovering how the songs parabola and faaip de oiad are placed togethre

[frater H]

73:17

sorry dont have the album, made calculation by the tracks listed on the lyrics page

well interesting still the same story just differnt numbers, so then the theory must sort of correct
in anyway

7+3=10
7+1=8

[frater H]

a dance album?

[frater H]

now does the 48 calls fit onto the amount of tracks of the albums
from aenima to the next unreleased one
and how do they fit?

[frater H]

another interesting fact is that aenima lateralus 10 000 days each have a track with the world shin the 11th letter related to the soul
and the 21st card of the tarot the aeon(judgment)

aenima
intermis -sion

lateralus
pa-tien-t

10 000 days
inten-tion

[frater H]

The Judgement card means resurrection or rebirth.

[frater H]

you see this brings us bock to the da vinci code

[frater H]

XX. THE AEON

In this card it has been necessary to depart completely from the tradition of the cards, in order to carry on that tradition.
The old card was called The Angel: or, The Last Judgment. It represented an Angel or Messenger blowing a trumpet, attached to which was a flag, bearing the symbol of the Aeon of Osiris. Below him the graves were opening, the dead rising up. There were three of them. The central one had his hands raised with right angles at the elbows and shoulders, so as to form the letter Shin, which refers to Fire. The card therefore represented the destruction of the world by Fire. This was accomplished in the year of the vulgar era 1904, when the fiery god Horus took the place of the airy god Osiris in the East as Hierophant (see Atu V). At the beginning, then, of this new Aeon, it is fit to exhibit the message of that angel who brought the news of the new Aeon to earth. The new card is thus of necessity an adaptation of the Stélé of Revealing.

Around the top of the card is the body of Nuith, the star-goddess, who is the category of unlimited possibility; her mate is Hadit, the ubiquitous point-of-view, the only philosophically tenable conception of Reality. He is represented by a globe of fire, representing eternal energy; winged, to show his power of Going. As a result of the marriage of these two, the child Horus is born. He is, however, known under his special name, Heru-ra-ha. A double god; his extroverted form is Ra-hoor-khuit; and his passive or introverted form Hoor-pa kraat. (See above, the Formula of Tetragrammaton). He is also solar in character, and is therefore shown coming forth in golden light.

[frater H]

http://www.bibliotecapleyades.net/crowley/libro_thoth05.htm

[frater H]

the hebrew letter shin has the resemblence of the fleur de lis

[frater H]

http://en.wikipedia.org/wiki/Fleur-de-lis

[frater H]

http://www.lashtal.com/wiki/Hoor-par-kraat

[frater H]

Passive aspect

The Passive Aspect of Heru-ra-ha is Hoor-pa-kraat (Egyptian: Har-par-khered), more commonly referred to by the Greek transliteration Harpocrates, meaning "Horus the Child"; Horus, the son of Isis and Osiris, sometimes distinguished from their brother Horus the Elder,[16] who was the old patron deity of Upper Egypt. Hoor is represented as a young boy with a child's sidelock of hair, sucking his finger. The Greeks,[17] Ovid and the Hermetic Order of the Golden Dawn attributed silence to him, presumably because the sucking of the finger is suggestive of the common "shhh" gesture.
Ra-hoor-khuit, the speaker in the third chapter of The Book of the Law, introduces himself as "the minister of Hoor-paar-kraat."[18]
Also known as "The Babe in the Lotus", Hoor-paar-kraat is sometimes thought of as the baby Ra-Hoor-Khuit[19] and sometimes as the younger brother of Horus.[20] The former view in the works of Aleister Crowley portrays Ra-Hoor-Khuit—in place of the Golden Dawn's Osiris/Jesus -- as a model for the initiate, and thus describes attainment as a natural growth process, de-emphasizing the metaphor of death and resurrection. In the second view, the Golden Dawn placed Hoor-paar-kraat at the center of their Hall of Ma'at while the officers of the temple (one of whom represented Horus) revolved around him.
[edit]
http://en.wikipedia.org/wiki/Heru-ra-ha

[frater H]

Combined form

The Cry of the First Aethyr in Crowley's Liber 418 presents Horus, the Crowned and Conquering Child, as the union of many opposites.
It is a little child covered with lilies and roses. He is supported by countless myriads of Archangels. The Archangels are all the same colourless brilliance, and every one of them is blind. Below the Archangels again are many, many other legions, and so on far below, so far that the eye cannot pierce. And on his forehead, and on his heart, and in his hand, is the secret sigil of the Beast. (fn: Sun and moon conjoined) And of all this the glory is so great that all the spiritual senses fail, and their reflections in the body fail.(...)This child danceth not, but it is because he is the soul of the two dances, --- the right hand and the left hand, and in him they are one dance, the dance without motion.

[frater H]

http://www.freemasons-freemasonry.com/double-headed-eagle.html

[frater H]

the transformation of the soul through fire is the main theme through all the albums from aenima

intention is definitly referring to this type of transformation

[frater H]

also in the grudge.

[frater H]

the videos of tool are basically the whole process summed up
they say a picture contians a 1000 words, what about a video?
i havent seen all of their videos, but vicarious also describes alot of whats going on

the thing is if your an average joe, you wont have the slightest idea of the amount of information contained in the video.
the 1st time i saw it i definitly did not.



but finding the explanation isnt that hard either, neither impossible

so have ever read the book of thoth?
if you did you would realize the meaning of that part in parabola where the being picks up the leaf and the leaf turns into fire.

the last part definitly sums up the whole thing in short, ive given alot of clues in finding it in the thread.

and still need to give some more in the future.
but for now check out the book of thoth.

[frater H]

the video also has the blue apples in it, the holy grail
the part where the apple is cut in 2 is a clue just think about it
the geometry that i mentioned (a couple of times but nobody seems to find it important enough)

[frater H]

so have ever read the book of thoth?



.


i meant 418 the vision and the voice, sorry my bad

[frater H]

schisms video also supports the theory of transformatio of the soul by fire(alchemy)

[Rolo]

Aenema was written w/D'amour

^
Great alias.

Sad detail is the Republican Æspect

[iAMtheMA!]

i'd agree, though can't discern anything but "blocky" when it came to peach gb

[frater H]

I think I have, altou that name doesn't help, to remember any better

the part of the being walking in the forest is in the 12 aethyr
and teh part of the leaf is in the 7th aether
the 7th aethyr has a part in it that seems to describe satan, or lucifer.
contains alot of interesting stuff

[frater H]

I wondered where I've seen this, it on my way, passing it many times, it's on a stone sculpture, witch represents a maid(naked) pouring/carrying water on her shoulder, this symbol is placed at the feet of the lady.

maybe im over analysing but this is too much of a coincidence

31, and in them are set the two eyes
of Horus. (Ayin means an eye.) For, if it were not so, the arrow could not
pierce the rainbow, and there could be no poise in the balance, and the Great
Book should never be unsealed. But this is she that poureth the Water of Life
upon her head, whence it floweth to fructify the earth. But now the whole
Aethyr is the most brilliant peacock blue. It "is" the Universal Peacock that I
behold.

[frater H]

so let me ask again , how does the 48 calls fit onto the the total amount of tracks on tyhe 4 albms?

[frater H]

another interesting fact is that aenima lateralus 10 000 days each have a track with the world shin the 11th letter related to the soul
and the 21st card of the tarot the aeon(judgment)

aenima
intermis -sion

lateralus
pa-tien-t

10 000 days
inten-tion

other shins i forgot about was
disposi-tion
reflelc-tion

[frater H]

also weird is the fact that they are seen as one rack with triad included
symbolising the the 3 tongues of the letter shin