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Old 07-03-2012, 06:52 AM   #41
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Re: aenima- problem 8

[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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Old 07-03-2012, 06:53 AM   #42
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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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Old 07-03-2012, 06:54 AM   #43
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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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Old 07-03-2012, 06:55 AM   #44
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Re: aenima- problem 8

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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Old 07-03-2012, 06:56 AM   #45
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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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Old 07-03-2012, 06:56 AM   #46
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Re: aenima- problem 8

[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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Old 07-03-2012, 06:57 AM   #47
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Re: aenima- problem 8

[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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Old 07-03-2012, 06:58 AM   #48
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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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Old 07-03-2012, 06:58 AM   #49
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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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Old 07-03-2012, 06:59 AM   #50
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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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Old 07-03-2012, 07:00 AM   #51
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[edit]Music
Ernő Lendvaď 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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Old 07-03-2012, 07:02 AM   #52
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[edit]Nature
A detail of an Aeonium tabuliforme in Trädgĺrdsföreningen, 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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Old 07-03-2012, 07:05 AM   #53
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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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Old 07-03-2012, 07:06 AM   #54
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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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Old 07-03-2012, 07:08 AM   #55
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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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Old 07-03-2012, 07:09 AM   #56
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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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Old 07-03-2012, 07:10 AM   #57
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Re: aenima- problem 8

Music
Ernő Lendvaď 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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Re: aenima- problem 8

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/myste...tory/maat.html
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Old 07-03-2012, 07:13 AM   #59
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Re: aenima- problem 8

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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Old 07-03-2012, 07:14 AM   #60
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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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Old 07-03-2012, 07:16 AM   #61
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Re: aenima- problem 8

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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Old 07-03-2012, 07:17 AM   #62
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Re: aenima- problem 8

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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Old 07-03-2012, 07:22 AM   #63
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Re: aenima- problem 8

§ 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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Old 07-03-2012, 07:22 AM   #64
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Re: aenima- problem 8

"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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Old 07-03-2012, 07:23 AM   #65
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Re: aenima- problem 8

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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Old 07-03-2012, 07:24 AM   #66
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Re: aenima- problem 8

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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Old 07-03-2012, 07:29 AM   #67
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Re: aenima- problem 8

§ 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.
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Old 07-03-2012, 07:29 AM   #68
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Re: aenima- problem 8

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.
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Old 07-03-2012, 07:30 AM   #69
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Re: aenima- problem 8

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".
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Old 07-03-2012, 07:30 AM   #70
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Re: aenima- problem 8

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".
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Old 07-03-2012, 07:31 AM   #71
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Re: aenima- problem 8

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".
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Old 07-03-2012, 07:32 AM   #72
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Re: aenima- problem 8

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 !
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Old 07-03-2012, 07:32 AM   #73
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Re: aenima- problem 8

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.
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Old 07-03-2012, 07:33 AM   #74
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Re: aenima- problem 8

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.
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Old 07-03-2012, 07:34 AM   #75
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Re: aenima- problem 8

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.
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Old 07-03-2012, 07:34 AM   #76
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Re: aenima- problem 8

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.
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Old 07-03-2012, 07:35 AM   #77
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Re: aenima- problem 8

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.
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Old 07-03-2012, 07:36 AM   #78
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Re: aenima- problem 8

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.
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Old 07-03-2012, 07:36 AM   #79
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Re: aenima- problem 8

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.
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Old 07-03-2012, 07:37 AM   #80
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Re: aenima- problem 8

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."
__________________
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THE WAY TO SUCKSEED OR THE WAY TO SUCK EGGS
http://www.youtube.com/watch?v=HTwA4mXJKsk
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