Wednesday, January 18, 2012

THE LORD'S SEASON OF THE WITCH: What Sacrifice, At What Price Can The City Be Born? Look Where We Worship

                                                                       "-What is connection?

                                                                   -When 2 motions, thought
                                                                    to be infinite & mutually
                                                                        exclusive, meet in a

                                                                               -Of Time?


                                                                      -Time does not exist.
                                                                          There is no time.

                                                                -Time is a straight plantation."

                                                                    -James Douglas Morrison

"The Chi Rho is one of the earliest forms of christogram, and is used by Christians. It is formed by superimposing the first two (capital) letters chi and rho(ΧΡ) of the Greek word "ΧΡΙΣΤΟΣ" =Christ in such a way to produce the monogram. Although not technically a Christian cross, the Chi-Rho invokes thecrucifixion of Jesus, as well as symbolizing his status as the Christ."
In Judaism Hei is often used to represent the name of God, as He stands for Hashem, which means The Name and is a way of saying God without actually saying the name of God. In print, Hashem is usually written as Hei with a geresh: ה׳. Heh is also representative of the Shekhinah. 
"Heh," or "ha," is also the Hebrew definite article "the." This defines, locates, particularizes, and characterizes.
The Hebrew letter "heh" means "window,"
                                             Thus, the Tetragrammaton contains 2 'Windows' 
                                                              for the 2 Heh's in YHVH.

                                        "(Windows work two ways, mirrors one way.)
                              You never walk through mirrors or swim through windows."
                                                                     -Jim Morrison
     Traditionally, as of Levi, Heh corresponds to the Tarot Trump 'The Emperor'
The 4th Tarot Trump aligning with the 5th Hebrew Letter.
This was changed in Crowley's Thoth deck where he related it to Tzaddi instead, and placed Heh with The Star.

This was due to Crowley's 'Book of the Law' exclaiming: 
"All the letters in my book are aright, but Tzaddi is not The Star"
Recently a friend of mine posted his own clever take on another line from the book:
"Every man and woman is a Tsar"
When I saw this it made me tilt my head, being that the word Tsar comes from the word Caesar:  "Tsar (Tzar, Czar, or Csar Bulgarian: цар, Serbian: цар, Russian: царь (help·info), Ukrainian: цар) is a title used to designate certain European Slavic monarchs or supreme rulers. As a system of government in the Tsardom of Russia and Russian Empire, it is known as Tsarist autocracy, or Tsarism. The term is derived from the Latin word Caesar, which sat in the room with many kinds of people like the "Emperor" in the European medieval sense of the term - a ruler who claims the same rank as a Roman emperor, with the approval of another emperor or a supreme ecclesiastical official (the Pope or the Ecumenical Patriarch)."
 Meanwhile Crowley gave himself the title The Beast 666, and incidentally Nero Caesar's Name in Hebrew Gematria adds up to 666. 
"Nero (Latin: Nero Claudius Caesar Augustus Germanicus; 15 December 37 – 9 June 68),was Roman Emperor from 54 to 68, and the last in the Julio-Claudian dynasty. Nero was adopted by his great-uncle Claudius to become his heir and successor, and succeeded to the throne in 54 following Claudius' death. During his reign, Nero focused much of his attention on diplomacy, trade, and enhancing the cultural life of the Empire. He ordered theaters built and promoted athletic games. During his reign, the redoubtable general Corbulo conducted asuccessful war and negotiated peace with the Parthian Empire. His general Suetonius Paulinus crushed a revolt in Britain and also annexed the Bosporan Kingdom to the Empire, beginning the First Roman–Jewish War.
In 64, most of Rome was destroyed in the Great Fire of Rome, which many Romans believed Nero himself had started in order to clear land for his planned palatial complex, the Domus Aurea..."

                                              The Chi Rho is also known as the PAX cross.
In Roman mythology, Pax [paqs] (Latin for peace) (her Greek equivalent was Eirene) was recognized as a goddess during the rule of Augustus. On the Campus Martius, she had a temple called the Ara Pacis, and another temple on the Forum Pacis. She was depicted in art with olive branches, a cornucopia and a scepter. There was a festival in her honor on January 3 (1/3). Daughter of Jupiter and Iustitia aka  
                                                     Pax was often associated with spring.


From the Latin pax, meaning "freedom from civil disorder," the English word came into use in various personal greetings from c.1300 as a translation of the Hebrew shalom.

In many languages the word for peace is also used a greeting or a farewell, for example the Hawaiian word Aloha, as well as the Arabic word Salam . In English the word peace is used as a farewell, especially for the dead as in Rest In Peace, RIP.

"Known as the 'peace sign' throughout the 1960's and into the present day, this symbol is the Teutonic rune of death. 1950's peace advocate Gerald Holtom may have been commissioned by communist sympathiser Bertrand Russell to design a symbol to unite leftist peace marchers in 1958. It is clear that either Holtom or Russell deemed the Teutonic (Neronic) cross as the appropriate symbol for their cause.

The peace symbol (also called the "broken cross," "crow's foot," "witch's foot," "Nero Cross," "sign of the 'broken Jew,'" and the "symbol of the 'anti-Christ''') is actually a cross with the arms broken. It also signifies the "gesture of despair," and the "death of man.''

I couldn't really find much more to back up this "death rune" assertion, then I came upon this:

Apparently, this is the 'Armanen' Yr, while the 'Younger' Yr, EIHWAZ looks like this:
This is the 13th Younger rune.

Galdr-sound: ei (pronounced as i in “ride”-prolonged, steady, and powerful, at once stabilizing and uplifting) Sounds exactly as Aiwass: Aiwass is the name of the extra-terrestrial or inter-dimensional  being who Aleister Crowley claimed dictated The Book of the Law, the central sacred text of Thelema, to him on April 8, 9, and 10th in 1904. As far as I know this is the first instance of the classic "Grey" being depicted...WE COME IN PEACE.
Letter: This stave can be used for EI but generally appears as a magical symbol rather than a letter; the phonetic value is not certain.
(Yew) is on the outside
a rough tree and hard, firm in the earth, keeper of the fire supported by roots a joy on the estate.”
Anglo-Saxon Rune Poem
(Yew) is the greenest wood in the winter; there is usually, when it burns, singing.” Old Norwegian Rune Rhyme
(Yew) is a strung bow and brittle iron and Farbauti of the arrow. Old Icelandic Rune Poem

Yew holds all...

Abcedarium Nordmanicum
The rune eihwaz, “yew,” is the rune holding the powers of the most mysterious of the magical trees known to the Germanic peoples. The evergreen that played such a great part in the world-view of the Germanics was, it has been well argued, a yew tree; the magical wand or talisman, when made out of wood, was most often carved of yew.
As the all-holding cosmic structure of Yggdrasill, the yew is indeed the tree of magic, for there is no rune whose being it does not hold within itself. Seen in this setting, you may understand one level of Odhinn’s runic initiation on Yggdrasill: only through the power of the yew tree could Odhinn learn the runes which are the keys to all of being in their completeness. As the turning point of the runic circle, eihwaz holds the entire futhark hidden within itself. A “rough tree” on the outside, and perhaps the hardest of all the runes to fully understand, eihwaz is the “keeper of the fire”: the hidden, but all-holding might of runic wisdom. As jera embodies the interaction of opposites and the gradual growth of understanding, so does eihwaz embody the melding of opposites and the lightning flash of revealing at the completion of initiation. The yew is known to the folk as the tree of death, having been planted in cemeteries until this day. According to popular belief, the yew tree can “trap” the souls of the dead. This is the simple shape of a much mightier mystery-the central mystery of the rune eihwaz and, it may be argued, the final unspoken secret of Odhinn.
On the simplest level, the yew is understood to be a tree of death because it is very poisonous. It can literally be death to eat of it and even lying beneath it can be dangerous because of the gaseous toxins it emits. As the alchemist and the magician know, however, poison is a sign of power. Alchemy purges the subject of the physical poison to create a healing agent; magic renders the poison, properly prepared, into the vehicle of initiation and immortality, and both depend on the worker as much as on the process worked. The yew shows its power of life equally with its power of death. It is an evergreen, which lives when every other tree seems to have died, yet its poison seems to forbid its power of immortality to humankind. In this one sees the melding of life and death, which is the might of the rune eihwaz. Odhinn’s initiation on this tree is the initiation of death in which he gains power over both death and life, returning from the dead as the mightiest of the gods.
The stave-shape of the Elder eihwaz does not appear in the Younger Futhark, and it does not seem to have been used for writing at all except as a magical sign, in contrast to the other runes which were used phonetically as well as magically. By thinking on the nature of this rune it may be suggested as a refutation of von List’s assertion that the final secret of the Havamal was shown in either the fyrfos (swastika) or its substitute, gebo.  There are sixteen runes in the Younger Futhark; the Havamal lists eighteen spells, implying either that two of the runes of the Elder Futhark survived as magical signs (but not letters) or that other signs were added to the list. Of the last, Odhinn says, “I know an eighteenth that none know, I neither maid nor man’s wife. I It is always better kept secret, I except to the one who lies in my arms, I or my sister.” First Odinn states that he will not tell it, especially to any woman; then he says that he will tell it to a mysterious feminine principle-as he has said, “neither maid nor man’s wife.” There is a certain hint of sororal incest here, even though Odhinn has no sister. 
The answer to this riddle is that the god is affirming within himself the synthesis of eihwaz: the lover/sister is Odhinn’s own feminine side who, not being brought forth into being as independently female, can be “neither maid nor man’s wife” and yet holds Odhinn in her arms and is also his sister. This is also, perhaps, the mystery which Odhinn whispers into the ear of the dead Baldr, the rune which “no dweller on earth knows.” It is the power of immortality, not as an escape from death, but as an acceptance of it and the melding of life with death which the yew tree shows forth in all ways.

The Anglo Saxon have this rune Yr as "Bow", the rune that was Yr, now eeoh, here means "Yew", while the Armanen Yr, now Kalc, appears as the "Chalice"

chalice (from Latin calix, cup, borrowed from Greek kalyx, shell, husk) is a goblet or footed cup intended to hold a drink. In general religious terms, it is intended for drinking during a ceremony.
Qliphoth/Qelippot, alternatively Klippot/Kellipot etc. (Transliteration of the Heb. קליפות meaning ‘peels’, ‘shells’, ‘husks’. Singular: קליפהQliphah/Qelippah/Klippah/Kellipah) refers to the representation of evil or impure spiritual forces in Jewish mysticism.
"In the Kabbalistic spiritual cosmology, the Kelipot are metaphorical “shells” surrounding holiness. They are spiritual obstacles receiving their existence from God only in an external, rather than internal manner. Divinity in Judaism connotes revelation of God's true unity, while the shells conceal holiness, as a peel conceals the fruit within. They are therefore synonymous with idolatry, the root of impurity through ascribing false dualism in the Divine, and with the Sitra Achra (סטרא אחרא The ‘Other Side’), the perceived realm opposite to holiness...

 They emerge in the descending Chain of Being through Tzimtzum contractions and concealments of the Divine Light, as part of the purpose of Creation. In this they also have beneficial properties, as peel protects the fruit, restraining the Divine flow from being dissipated. Kabbalah distinguishes between two realms in Kelipah, the completely impure and the intermediate."

The index and middle finger are ruled by Jupiter and Saturn, or Cronus and Zeus respectively. 
"With the deposing of his father, Cronus/Saturn became the ruler of the Universe for untold ages and he reigned with his sister, Rhea/Ops, who also became his wife. It was prophesied that one day Cronus would lose power when one of his children would depose him. To prevent this from happening, each time Rhea delivered a child Cronus would immediately swallow them. When her sixth child, Zeus, was born, Rhea had him spirited away to the island of Crete. She then wrapped a stone in his swaddling clothes. Her deception was complete when Cronus swallowed it, thinking it was the child. When Zeus was grown, he secured the job of cup-bearer to his father.
With the help of Gaia, his grandmother, Zeus fed his father a potion that caused him to vomit up Zeus's five siblings, Hestia, Demeter, Hera, Hades and Poseidon."

On a side note...                             
Witch's Honor Pledge -                                                                   
 To signify the telling of the absolute truth, on occasion, both    SamanthaStephens (Elizabeth Montgomery) and her mother, Endora (Agnes Moorehead) gave the Witch's Honor pledge and sign on the sitcom BEWITCHED/ABC/1964-72.                                                                                                                 


The correct Witch's Honor Sign placed the index and middle fingers of the left hand on either side of the nose with fingertips pointing toward the eyes. Accompanying the sign was the phrase "Witch's Honor."
  You've got to pick up every stitch,
 You've got to pick up every stitch,
 The rabbits running in the ditch, 
 Oh no, must be the season of the witch... 
 Run Rabbit Run
Dig that hole, forget the Sun
and when at last the work is done
Don't sit down it's time to dig
another one

Just as the name 'Marilyn Manson' is a dichotomy of opposing elements, the term 'Eat Me, Drink Me' is itself a union of opposites in the context of Alice in Wonderland. 'Eat Me', the cake, made Alice grow while 'Drink Me', the bottle, made her shrink. In other words, the album title can dually act as an extension of the black/white, good/evil dichotomy that Manson continually portrays.
'Eat Me, Drink Me' can be seen, to philosophize on a deeper level, as the union of expansion and contraction; dichotomy of opposites, Marilyn and Manson. An alchemical union which Jodorowsky himself will assimilate to the philosopher's stone.
"Undressing, he enters his bedroom. Alice, asleep, is smiling, laughing. He shakes her and she wakes in a panic. He apologizes to her for waking her, saying he thought she was having a nightmare. She says she was having a horrible dream. (It is a riveting piece of acting and Nicole Kidman addresses it in a film on Kubrick, saying that she wasn’t sure what he wanted and did the scene several times with his coaching until he got what he was looking for.)

The same blue as the blue mask.
It’s a little after four. “It took longer than I thought,” Bill says. She pulls him to lie down beside her. He asks what she was dreaming and she says weird things, “So, weird.” He wants her to tell him.
She says they were in a deserted city and their clothes were gone, they were naked, and she was terrified. She beings to cry, saying she felt ashamed, and angry. He rushed away to go find clothes and she felt wonderful. Then she was lying in a beautiful garden and a man walked out of the woods, the man from the hotel, the Naval officer. He stared at her and he laughed. “He just laughed at me.” Alice lies back down and sobs.
"That’s not the end, is it?” Bill says. “Why don’t you tell me the rest of it.”
Alice says no, it’s too awful.
“But it’s only a dream.”
Alice sits up and holds Bill as she tells him they made love, that there were then hundreds of people fucking around them. And that she was then fucking other men. She didn’t know how many she was with, and she knew he could see her. And she wanted to make fun of him, to laugh in his face. And so she laughed.
Fade out.
The movie cut much of the dream that was presented in the original screenplay.
I think it started in my parents house. They weren’t there. I was alone. That surprised me because our wedding was the next day and I didn’t have a wedding dress. Then you and I were floating above a ancient city. It was a kind of crazy mix of ancient architectural styles. Oriental, Egyptian, Greek and Roman architecture. And it was completely deserted. The streets were empty–no people, no animals. And I remember thinking, so this is our honeymoon. Then it was night and the sky was so full of stars, and so blue and wide it seemed like it was painted. You said it was the ceiling of our bridal chamber and you took me in your arms and made love to me and said you would love me forever…We made love and it was wonderful, though there was a sadness to it, and a presentment of sorrow. Suddenly it was morning and we were somewhere in the strange city. We were still completely alone. But something terrible had happened–our clothes were gone. I was terrified as I had never been before, and felt such a burning shame that it almost consumed me. At the same time I was furious with you because I thought it was your fault. And this sensation of terror, shame and fury was more intense than any emotion I had ever felt before. You felt guilty and rushed away naked, to go and get clothes for us.
As soon as you were gone I felt wonderful. I neither felt sorry for you, or worried about you. It was heavenly to be alone. I was lying in a lush garden, stretched out naked in the sunlight, and I was far more beautiful than I ever was in reality. And while I lay there, a young man walked out of the woods. He was the young Naval officer I told you about from the hotel. He looked different but I knew it was him. He stopped in front of me and looked at me searchingly. I laughed seductively and wantonly, as I have never laughed in my life, and he held out his arms to me and sank down beside me…
He looked at me…and slowly took me in his arms…and we began making love. I seemed to live through countless days and nights–there was neither time nor space. And the more we made love the more our hunger for each other increased. And just as that earlier feeling of terror and shame went beyond anything I had ever felt, so nothing can be compared with the freedom and happiness and the…desire that I now felt. Then I realized there were other couples around us–hundreds of them, and they too were making love. Then I was making love to the other men, and as soon as my longing was satisfied with one, I wanted another. I can’t say how many I was with. And yet I didn’t for one moment forget you. And all this time, you were buying the most beautiful clothes and jewelery you could find for me.
Then you were being followed by a crowd of people who were shouting threats. Then you were seized by soldiers, and there were also priests among them. Somebody, a gigantic person, tied your hands. You were still naked. I knew you were going to be crucified but I felt no sympathy for you. I still blamed you for everything that had happened. I felt that I was far removed from you but I knew you could see me naked in the arms of countless men in this sea of nakedness which foamed around me. The soldiers began to whip you and blood flowed down you in streams. I saw it without feeling any surprise or pity. Then you smiled at me as if to show you had fulfilled my wish and bought me everything I wanted. But I thought your actions were ridiculous and I wanted to make fun of you, to laugh in your face. They began to nail you to the cross and I hoped that you would be able to hear my laughter. And so I laughed as shrill and loud as I could. That must have been the laugh that you heard when I woke up.
It’s made obvious from this dream that the film isn’t just about a man with a narrow view of women struggling with expanding his mundane view of sexuality. Kubrick has charged the film with mystic subcontext which, being a film director, he chose to have not told via Alice’s dream, as in the screenplay, but with images in the film itself.
Now to throw around some thoughts which may not speak to the film directly but I’ve wondered if they had some play in the story that the screenplay’s dream couched in symbolism most familiar to Western viewers through stories of an Eden-type garden and savior crucifixion imagery.
We are perhaps close here to a version of the mystic marriage, of the Shekinah cleaved from the King, the godhead (of which she is a part), to reside in exile in the base world, the mother of all, and the task being the reunification of her with the En Sof.
The desire is to unity.
When a man sins it is as though he strips the Shekinah of her vestments, and that is why he is punished; and when he carries out the precepts of the law, it is as though he clothes the Shekinah in her vestments.
There are hints of the Garden of Eden in the dream and if you look at the story of Noah closely it is very much another creation myth, in that it is the ushering in of a new world, just as in the story of the Greek flood, Deucalion and Pyrrha surviving and repopulating the world by throwing stones behind them (the bones of their mother) as they went.
Wouldn’t hurt to examine the screenplay’s dream in respect to any links to the Garden of Eden, with its emphasis on Alice waking, feeling a terrifying shame, and Bill running off to get clothes for her, though the dream begins with their floating ancient cities in which they saw no flesh, reminding perhaps of the ark floating on the waters (the idea of bitterness contained in the waters by definition of the word) and Alice feeling great sorrow, though she also felt wonderful.
Adam and Eve, separated from the godhead, living with Shekinah in the material world, received garments of animal skin, or the physical body.

ORV is to be naked, the type of nakedness experienced in the Garden of Eden, Adam and Eve not being ashamed until they ate the fruit of knowledge.
That which is given as the snake (whose name means also learning by experience, prognostication) was the most cunning (HIH ORVM) of all life. So he tells the woman if she eats that her eyes will be opened (PhQCh) and she will know good and evil. PhQCh is to be observant.
So Adam and Eve ate and their eyes were opened, the word for eyes meaning also fountains, and they knew they were naked.
Whereas ORV is the word for naked, OVR is the word for skin. Another form of OVR means to blind, as in having a film over the eyes. The eyelids.
Bill goes running off to find clothes for Alice, all that he does seeming as an effort finally to win her back, even to the point of self sacrifice, a self sacrifice she appears to demand. In the meanwhile, however, the naval officer had appeared and their eyes meet, he looks searchingly at her, this point is made, and Alice is filled with a great desire and making love with him enters a sense of eternity, timelessness. As they made love suddenly there appeared more and more people making love.
In the story of Noah, for the dove that flew out of the ark is IVNH, a word that carries in it the idea of warmth, as from their mating, and is from IIN, which is the fermentation of wine and is also intoxication. Then the injunction comes after that the earth should be replenished.
We move into the curious scene of Bill’s self sacrifice and bloodshed, establishing him as a Christ figure in Alice’s dream.
A further injunction given Noah concerned blood:
But flesh with the life thereof, which is the blood thereof, shall ye not eat. And surely your blood of your lives will I require; at the hand of every beast will I require it, and at the hand of man; at the hand of every man’s brother will I require the life of man. Whoso sheddeth man’s blood, by man shall his blood be shed: for in the image of God made he man.
This separation of Shekinah, the bride from the bridegroom (the bride groom operating here in the dream as Bill attempting to win back Alice) is observed in the movie through a later reference to the name YHVH. The Shekinah is written of as being the final H (heh) in the name YHVH. Take away that final Heh and one has IHV, a permutation of which is HIV, which the prostitute, Domino, is given as having.
To complicate matters, there is a Dark Shekinah who is sometimes linked to Lilith.
Alice and Bill’s apartment is thus filled with references to the garden and the fruits plucked from the tree, those fruits representing also the separation of the Shekinah and mankind.
Bill certainly recognizes that Alice’s dream contains elements of the party from which he’d just been ejected. “But that’s not the end,” he’d said, reminded he had been invited to where the rainbow ends. He had assured Alice it was just a dream.

Perhaps, at the party, he’d envisioned Alice in the arms of these men.
I really see no reason to view the orgy as anything but a mystic level of the party at Victor’s and of life in general. The music at Victor’s had been all about eternal love, but if the movie was only about a man’s attempting to divine the difference between sex and love on only a physical human level, there would be no reason to have this party. And if the movie was primarily about some secret level of society (and this party and Alice’s dream of it are the hub of the movie) then there’d really be no reason for this drawn out odyssey-like exploration of the confusion of love and sex and Alice’s dream replaying the party on an unconscious level, an Alice through the Looking Glass, down the Rabbit Hole adventure exploring a possible hidden reality which is here being expressed in the allegory of the masked orgy.
Bill, as presented at the beginning of the film, is a person highly unlikely to go through a fundamental crisis over his wife fantasizing an affair with a naval officer. There’s no reason for her confession to push him into the night and into the arms of a prostitute and finally to this curious party. The mystery with which he’s dealing is broader, though what is love and what is sex have their place in it. He appears to have been propelled into an initiation drama with its attending revelations that shock one out of mundane complacency into considering deeper aspects of life, but that initiation drama is no more shocking and strange than what happens when any individual finds themselves unbound by the cultural map that has informed them, since near the day of their birth, where they are, who they are and how it all fits together.
At this point, Bill believes he knows something about what has happened. He still has questions, but he has some basic assumptions that are already forming a story about what he believes has occurred. Next, the film will continue with seemingly building up a story in which he can believe based on his assumptions and experience, then breaking it down so he knows little more than when he began."

            or Irene Εἰρήνη [eːrɛ́ːnɛː]; Greek for "peace"; the Roman equivalent was Pax), one of the Horae, was the personification of peace, and was depicted in art as a beautiful young woman carrying a cornucopia, sceptre and a torch or rhyton. She is said sometimes to be the daughter of Zeus and Themis.
A rhyton (plural rhytons or, following the Greek plural, rhyta) is a container from which fluids were intended to be drunk, or else poured in some ceremony such as libation. Rhytons were very common in ancient Persia, where they were called takuk (تکوک). The English word rhyton originates in the ancient Greek word ῥυτόν (rhŭtón).

Libations were part of ancient Judaism and are mentioned in the Bible:
"And Jacob set up a Pillar in the place where he had spoken with him, a Pillar of Stone; and he poured out a drink offering on it, and poured oil on it". (Genesis 35:14)

Isaiah uses libation as a metaphor when describing the end of the Suffering Servant figure who "poured out his life unto death".: (53:12)

"Where is the wine? The new wine, dying on the vine." -Jim Morrison
In Ancient Greece the term "spondee" (libation) is meant to be a type of sacrifice. The term includes all offers to the gods, which discharge on to an altar various nutritious or precious liquids, such as perfumes, wine, honey, milk, oil, juices of fruits.

"Columba |kəˈləmbə| Astronomy; a small and faint southern constellation (the Dove), near Canis Major. It is sometimes said to represent the dove that Noah sent out from the Ark...The word "Colombia" comes from Christopher Columbus (Spanish: Cristóbal Colón)...The boy's name Columbus \c(o)-lu-mb
us\. Variant of the Latin word meaning "dove"
"Now, ancient people found their clothes got cleaner if they washed them at a certain spot in the river. You know why? Human sacrifices were once made on the hills above this river. Bodies burnt, water speeded through the wood ashes to create lye. This is lye - the crucial ingredient. The lye combined with the melted fat of the bodies, till a thick white soapy discharge crept into the river." Remember that human fat makes the best soap." -Tyler Durden 
"The Tale of Scrotie McBoogerballs" is the second episode of the fourteenth season of the American animated television seriesSouth Park, and the 197th overall episode of the series. It originally aired on Comedy Central in the United States on March 24, 2010. In the episode, the South Park boys write a vulgar book with the sole intention of getting it banned. When Stan's parents discover the manuscript, the boys accuse Butters of writing it, then are enraged when it is hailed as a literary masterpiece.

The episode was written and directed by series co-creator Trey Parker, and was rated TV-MA L in the United States. It serves as a satire of pop culture criticism, and mocks people who find hidden messages in works where there are none. The episode includes other themes, including the lack of interest in reading among American youths, and mocks the idea that a book alone causes people to commit violent crimes.
The novel The Catcher in the Rye by J. D. Salinger plays a major part in the episode, as the South Park boys are inspired to write their own book when they feel Salinger's book does not live up to its controversial reputation. The episode also mocks actress Sarah Jessica Parker and the Kardashian family from the reality series Keeping Up with the Kardashians, who are murdered by a crazed reader of Butters' second book.
"The Tale of Scrotie McBoogerballs" received generally positive reviews, with many commentators praising the episode's themes of the over-analysis into works of culture, although some said the vomiting jokes were too old and grew redundant. According to Nielsen Media Research, the episode was seen by 3.24 million viewers. After the episode aired, KimKourtney and Khloé Kardashian praised their portrayal and on-screen deaths.
                                                        Here is Kim  Kardashian's perfume 
(Ж, 2 Ks=11 11). :...The symbol: Ж (Notice it's similarity to the Anglo Saxon rune for 'Chalice') is a serbian letter, which is likely derived from the Hebrew letter Shin שׁ (doubled upon itself) This letter corresponds to 'Judgement' in Tarot, which corresponds to the path between Hod & Malkuth on the Tree of Life, & means K9 tooth. If K is 11, and 11+9=20, it is interesting to note that 'Judgment is the 20th Major Arcana:
Interestingly, the fragrance is distributed exclusively by 'SEPHORA', the name given to any one of the 10 main paths of the Tree of Life in Kaballa. Now, Kim Kardasian, is K.K. or 11 11. 11+11=22, the total # of vectors that make up the paths that link together the 10 Sephorot of the Tree, which correspond to the Trump cards of the Tarot. 
Zhe is one of the first letters learned by children who learn to write in Slavic languages, because it looks quite like a young frog floating in a pond, and in these languages жаба (žaba) means ‘frog’ or ‘toad’. Also, it looks somewhat like a beetle, and the Russian and Ukrainian for ‘beetle’ is жук (žuk), the Russian onomatopoeic word for ‘buzz’ (as a beetle) is жужжать (žužžat’) with three zhes (the same in Bulgarian is жужат’ with two zhes).' 
Peace Frog; Blood is the rose of mysterious  union.

Beelze(ж)bufo ampinga was a particularly large species of prehistoric frog first identified in 2007. Common names assigned by the popular media include "Devil Frog", "Devil Toad", and "The Frog From Hell".Fossils of Beelzebufo have been recovered from strata of the Maevarano Formation in Madagascar, dating to the late Cretaceous Period, some 70 million years ago.
"The generic name Beelzebufo is a portmanteau of Beelzebub (a Semitic deity sometimes identified as one of the chief lieutenants, or persona of the Christian Devil) and bufo (Latin for "toad"). The specific name ampinga means "shield" in the language of Malagasy.
Ba‘al Zəbûb is variously understood to mean "lord of the flies" or "lord of the (heavenly) dwelling". Originally the name of a Philistine god, Beelzebub is also identified in the New Testament as Satan, the "prince of the demons". In Arabic, the name is retained as Ba‘al dhubaab / zubaab (بعل الذباب), literally "Lord of the flies"."
                                    "Let's steal the EYE that sees us all" 
"We're reaching for death at the end of a candle, we're searching for something that's already found us."
                                                                        -Jim Morrison
                                      'One Ring to rule them all, One Ring to find them,
                                One Ring to bring them all and in the darkness bind them'

Jesus knew their thoughts and said to them, Every kingdom divided against itself will be ruined, and every city or household divided against itself will not stand. If Satan drives out Satan, he is divided against himself. How then can his kingdom stand? And if I drive out demons by Beelze(ж)bul, by whom do your people drive them out? So then, they will be your judges. But if I drive out demons by the Spirit of God, then the kingdom of God has come upon you.─Matthew 12:25-28

"In the Testament of Solomon, Beelzebul (not Beelzebub) appears as prince of the demons and says (6.2) that he was formerly a leading heavenly angel who was (6.7) associated with the star Hesperus (which is the normal Greek name for the planet Venus (Αφροδíτη) as evening star). Seemingly, Beelzebul is here simply Satan/Lucifer. Beelzebul claims to cause destruction through tyrants, to cause demons to be worshipped among men, to excite priests to lust, to cause jealousies in cities and murders, and to bring on war.

"Simon is a character who represents peace and tranquillity and positivity. He is in tune with the island, and often experiences extraordinary sensations when listening to its sounds. He loves the nature of the island. He is positive about the future. He has an extreme aversion to the pig's head, the "Lord of the Flies", which derides and taunts Simon in a hallucination. After this experience, Simon emerges from the forest to tell the others that the "beast" that fell from the sky is actually a deceased parachutist caught on the mountain. He is brutally killed by the boys, who ironically mistake him for the beast and kill him in their "dance" in which they "ripped and tore at the beast". It is implied that Ralph, Piggy, Sam and Eric partake in the killing. The final words that the Lord of the Flies had said to Simon vaguely predicted that his death was about to occur in this manner. Earlier in the novel Simon himself also predicts his own death when he tells Ralph that he will "get back all right", implying that, of the two of them, only Ralph will be saved. Simon's death represents the loss of truth, innocence, and common sense. Simon is most commonly interpreted as a Christ figure because of his ability to see through misconception, unlike the rest of the boys, and the events he experiences in the book that parallel those of Jesus' life.
"Simon is the first child on the island to realise that the Beast is created by the boys' fear. He decides that "the news must reach the others as soon as possible". Meanwhile, the boys have been feasting and begin to do their tribal pig-hunting dance. When "the beast stumble[s] in to the horseshoe", the frenzied, terrified boys "leapt on to the beast, screamed, struck, bit, tore". It becomes clear that the boys have mistaken Simon for the beast and murdered him both when Golding describes "Simon's dead body move[ing] out towards the open sea", and on the morning after when Ralph tells Piggy, "That was Simon...That was murder"."

"Here is wisdom. Let him who has understanding calculate the number of the beast, for the number is that of a man; and his number is six hundred and sixty-six". Revelation 13:18
"The Number of the Beast (Greek: Άριθμὸν τοῦ θηρίου, Arithmon tou Thēriou) is a term in the Book of Revelation, of the New Testament, that is associated with the first Beast of Revelation chapter 13, the Beast of the sea. In most manuscripts of the New Testament and inEnglish translations of the Bible, the number of the Beast is 666. In critical editions of the Greek text, such as the Novum Testamentum Graece, it is noted that 616 is a variant...
A preterist view of the Mark of the Beast is the stamped image of the emperor's head on every coin of the Roman Empire: the stamp on the hand or in the mind of all, without which no one could buy or sell. New Testament scholar Craig C. Hill says, "It is far more probable that the mark symbolizes the all-embracing economic power of Rome, whose very coinage bore the emperor's image and conveyed his claims to divinity (e.g., by including the sun's rays in the ruler's portrait). It had become increasingly difficult for Christians to function in a world in which public life, including the economic life of the trade guilds, required participation in idolatry." A similar view is offered by Craig R. Koester. "As sales were made, people used coins that bore the images of Rome's gods and emperors. Thus each transaction that used such coins was a reminder that people were advancing themselves economically by relying on political powers that did not recognize the true God."
The passage is also seen as an antithetical parallelism to the Jewish institution of tefillinHebrew Bible texts worn bound to the arm and the forehead during daily prayer. Instead of binding their allegiance to God to their arm and head, the place is instead taken with people's allegiance to The Beast."
As I mentioned in a previous post:
On both sides of the head-tefillin, the Hebrew letter shin (ש) is moulded. The knot of the head-tefillin strap forms the letter dalet (ד) while the strap that is passed through the arm-tefillin is formed into a knot in the shape of the letter yud (י). These three letters spell Shaddai, one of the names of God.
The Gematrical value of the word Shaddai is 314. This is the same value as Metatron מטטרון.

Metatron is thought of as the the Tree of Knowledge or Daat דעת due to the six directions of Daat דעת resonating 

with Metatron's Cube.  
 יהוה says to Moses in Exodus 23:21 while referring to Metatron מטטרון"Beware of him, and obey his voice, provoke him not; for he will not pardon your transgressions: for my name is in him."
"The scriptures are full of allegorical references to masonry and building with stone. For example Jesus says: ”The stone which the builders rejected is become the head of the corner”(Mark 12,10). In John 1:42 Jesus makes Simon Peter a stone, a foundation stone of a spiritual Church. The Freemasons likewise labour on the construction of a spiritual version of Solomon's temple and not a physical one. In Mark 6:4 Jesus is himself described as O Tektwn (pronounced Tech‐Tone).
This description has always been mistranslated as carpenter in the English Bible, but its truer meaning is Builder or architect."
Read more:
In Matrix Reloaded Neo is told he will have exactly 3 minutes and 14 seconds to meet with the 'Architect', 314, the value of            Shaddai and Metatron
"The Architect is the 'father' of the Matrix. He's an entity from the machine world and he designed the original 'failed' Matrix and the current 'successful' one. The first Matrix failed because it was too perfect. It was a virtual paradise, a utopia for humanity. Unfortunately, humans are not accustomed to living in a perfect world, and the test subjects rejected the simulation because it just wasn't right. The second Matrix he designed more closely resembled the 'real world' of 1999: it was hard, it was dirty, it had death, violence, war, atrocities, and everything else a flawed species would likely create for itself. This one also failed, but for reasons that the Architect couldn't figure out. Another machine program (one created to investigate aspects of the human psyche) stumbled upon the reason for the second failure: a lack of choice. If humans were offered a choice, even one felt at an unconscious level, then over 99% would accept the Matrix and live in the virtual world, unknowingly powering the machines. The remaining percentage would choose the other option, becoming a 'free mind' destined to become part of the human resistance based in Zion.
Neo is understandably floored by this revelation. Zion is another level of control by the machines over humanity. It was designed by the machines as a destination for the malcontents that reject the Matrix - a place for them to believe they are free, and deceive them into thinking they have an opportunity to free the world. In fact, the machines have a necessary cycle, one that's been played out five previous times: Zion is built up by those who free themselves from the Matrix, the war intensifies, the One is located, trained, and directed by the prophecy to the Source, the machines destroy Zion, the One picks 23 people to free from the Matrix to begin rebuilding Zion (with no prior knowledge that Zion ever existed), and the cycle begins anew. This is the sixth time this has happened. Neo is the sixth One. The machines have destroyed Zion five times before. This cycle is likely what the movie's title refers to - each time the cycle begins again, the Matrix is reloaded. It's also a necessary evil for the Matrix - until the Architect can achieve 100% acceptance of the Matrix and eliminate the need for the One, this cycle must play out as described or the system will become unstable and crash."
"Simon Iff is the main protagonist of a series of short detective stories written by occultist Aleister Crowley. He is portrayed as a mystic, a magician and a great detective with a thorough insight into human psychology.
The stories typically revolve around an apparently unsolvable crime, which is eventually untangled by Iff's magickal and psychological logic. Crowley explained the method of crafting a Simon Iff story in simple terms: Think of a situation as inexplicable as possible, then to stop up all the chinks with putty, and having satisfied myself that no explanation was possible, to make a further effort and find one.... 
As with most of Crowley's work, the Iff stories are practically unheard of outside of occult circles."
Hiram Abiff (other spellings "Hurum", "Abif", and "Huram-Abi") is a character who figures prominently in an allegorical play that is presented during the third degree of Craft Freemasonry. In this play, Hiram is presented as being the chief architect of King Solomon's Temple, who is murdered by three ruffians during an unsuccessful attempt to force him to divulge the Master Masons' secret password. It is explained in the lecture that follows this play that the story is a lesson in fidelity to one's word, and in the brevity of life.

"The Blue Degrees are but the outer court or portico of the Temple. Part of the symbols are
displayed there to the initiate, but he is intentionally misled by false interpretations. It is not
intended that he shall understand them; but it is intended that he shall imagine he understands
them. Their true explicacation is reserved for the Adepts, the Princes of Masonry."
        -Albert Pike, from Morals and Dogma 

"Moonchild is a novel written by the British occultist Aleister Crowley in 1917. Its plot involves a magical war between a group of white magicians, led by the protagonist Simon Iff, and a group of black magicians over an unborn child. It was first published by Mandrake Press in 1929 and its recent edition is published by Weiser.
In this work, numerous acquaintances of Crowley appear as thinly disguised fictional characters... Cyril Grey is Crowley himself, while Simon Iff is either an idealized version of an older and wiser Crowley or his friend Allen Bennett."
"The months of the year originally come from the cycles of the moon and there are 13 lunar months every year. Which worked out well, as every month was 28 days which is exactly 4 weeks, while 28 x 13 = 364, which is only 1¼ days short of 365¼ days in a year. In ancient times women became associated with the moon, because their menstrual period also takes about the same time as a lunar month. So the 13 months of the year was seen in ancient civilisations as a very feminine symbol. When patriarchy took complete control they adopted a 12-month calendar instead, to rid itself of any feminine association in our calendar. Unfortunately when 12 goes into 365 we have 5 days left over instead of one. The result is we now have a hotchpotch of a calendar with some months being 30 days and others 31 and only one month was left at 28 days. While the days in a week no longer correspond with the days in a month, as 30 or 31 days do not fit in with the 7-day week.
So the number thirteen is strongly associated with the feminine in a time before patriarchy. It is also of interest that Friday the 13th is unlucky because Friday was named after the Nordic Goddess Freya. So it means that later patriarchal religions in an effort to discredit Goddess religions associated the feminine and Goddesses with bad luck. Thirteen is also in the New Testament. Jesus had 12 disciples but if we add Jesus to this we have a group of 13 people. Which is interesting, as traditionally a Witch’s coven is 13 Witches.
The Feast of the Immaculate Conception celebrates belief in the Immaculate Conception of the Blessed Virgin Mary. It is celebrated on 8 December, nine months before the Nativity of Mary, which is celebrated on 8 September. It is the patronal feast day of the United Statesand the Republic of the Philippines. It is celebrated by the Roman Catholic Church as well as a few other closely related Christian churches.
Rosemary's Baby is a 1968 American horror film written and directed by Roman Polanski, based on the bestselling 1967 novel Rosemary's Baby by Ira Levin.
"For the first three months of her pregnancy, Rosemary suffers severe abdominal pains, loses weight, becomes unusually pale and craves raw meat and chicken liver. The doctor insists the pain will subside soon and assures her she has nothing to worry about. When her old friend Hutch (Maurice Evans) sees Rosemary's gaunt appearance and hears that she is consuming the mysterious "tannis root" on a daily basis in Minnie's health drink, he is disturbed enough to do some research.

On the day Hutch plans to share his findings with her, he mysteriously falls into a coma a few hours before their meeting, and dies three months later. After briefly regaining consciousness before his death, he has instructed the doctor to have a book about witchcraft, which he had left on his desk, be given to Rosemary. Grace Cardiff, a friend of his, decides to have the book delivered to Rosemary at Hutch's funeral along with the cryptic message:
                               "the name is an anagram"...
At the Castavets' New Year's Eve party, Roman raises an equally cryptic toast: "To 1966: the Year One." Rosemary sees that Hutch has marked photographs and passages in the book. Using the clue given to her in the cryptic message, Rosemary deduces that Roman Castevet is really Steven Marcato, the son of Adrian Marcato, a former resident of the Bramford (The Bramford is actually The Dekota, where John Lennon was shot and killed) who was accused of being a witch and of worshiping Satan, and was a martyr to the cause. Rosemary suspects her neighbors are part of a cult with sinister designs on her baby, and that Guy is cooperating with them in exchange for their help in advancing his career. She deduces that Dr. Sapirstein is also part of the conspiracy when his receptionist comments that the smell coming from the good luck charm given to Rosemary by the Castavets, reminds her of a fragrance often used by the doctor..."
"The Ninth Gate is a 1999 thriller film directed, produced, and co-written by Roman Polanski. The plot involves a the rare book business, wherein rare-book dealer Dean Corso (Johnny Depp) is hired by bibliophile Boris Balkan (Frank Langella) to validate a seventeenth-century copy of The Nine Gates of the Kingdom of Shadows, by Aristide Torchia, and what he encounters en route. The Nine Gates is an imaginary book, but is heavily inspired by the Hypnerotomachia Poliphili...Outside the building, The Girl appears to Corso and seduces him by the light of the flames. She tells him that Balkan failed because the ninth engraving Balkan had used was a forgery. Corso, following her directions, returns to the Ceniza brothers' shop. Upon arriving, he finds the store gone and the last piece of furniture being removed, from the top of which falls the authentic ninth engraving, which includes a likeness of the mystery girl. With the last engraving in hand, Corso returns to the castle it depicts, and crosses the threshold of the Ninth Gate. "

Crowley on Atu XI: LUST
"This Trump was formerly called Strength (Or עַזִּיז or OZ) .
But it implies far more than strength in the ordinary sense of the word. Technical analysis shows that the Path corresponding to the card is not the Strength of Geburah, but the influence from Chesed upon Geburah, the Path balanced both vertically and horizontally on the Tree of Life. For this reason it has been thought better to (1These are the four elements, summed in a fifth, Spirit, to form the Pentagram; and the Magical Virtue corresponding is Ire, to go. "To go" is the token of Godhead, as explained in reference to the sandal-strap or Ankh, the Crux Ansata, which in its turn is identical with the astrological symbol of Venus, comprising the 10 Sephiroth) change the traditional title. Lust implies not only strength, but the joy of strength exercised. It is vigour, and the rapture of vigour.
"Come forth, 0 children, under the stars, & take your fill of love! I am above you and in you. My ecstasy is in yours. My joy is to see your joy."
"Beauty and strength, leaping laughter and delicious languor, force and fire, are of us."
"I am the Snake that giveth Knowledge & Delight and bright glory, and stir the hearts of men with drunkenness. To worship me take wine and strange drugs whereof I will tell my prophet, & be drunk thereof! They shall not harm ye at all. It is a lie, this folly against self. The exposure of innocence is a lie. Be strong, 0 man! lust, enjoy all things of sense and rapture: fear not that any God shall deny thee for this."...
This Trump is assigned to the sign of Leo in the Zodiac. It is the Kerub of Fire, and is ruled by the Sun. It is the most powerful of the twelve Zodiacal cards,' and represents the most critical of all the operations of magick and of alchemy. It represents the act of the original marriage as it occurs in nature, as opposed to the more artificial form portrayed in Atu VI; there is in this card no attempt to direct the course of the operation.
The main subject of the card refers to the most ancient collection of legends or fables. It is necessary here to go a little into the magical doctrine of the succession of the Aeons, which is connected with the procession of the Zodiac. Thus, the last Aeon, that of Osiris, is referred to Aries and Libra, as the previous Aeon, that of Isis, was especially connected with the signs of Pisces and Virgo, while the present, that of Horus, is linked with Aquarius and Leo. The central mystery in that past Aeon was that of Incarnation; all the legends of god-men were founded upon some symbolic story of that kind. The essential of all such stories was to deny human fatherhood to the hero or god-man. In most cases, the father is stated to be a god in some animal form, the animal being chosen in accordance with the qualities that the authors of the cult wished to see reproduced in the child.
Thus, Romulus and Remus were twins begotten upon a virgin by the god Mars, and they were suckled by a wolf. On this the whole magical formula of the city Rome was founded.
Reference has already been made in this essay to the legends of Hermes and Dionysus.
The father of Gautama Buddha was said to be an elephant with six tusks, appearing to his mother in a dream.

There is also the legend of the Holy Ghost in the form of a dove, impreguating the Virgin Mary. There is here a reference to the dove of Noah's Ark, bringing glad tidings of the salvation of the world from the waters. (The dwellers in the Ark are the foetus, the waters the amniotic fluid.)
Similar fables are to be found in every religion of the Aeon of Osiris: it is the typical formula of the Dying God.
In this card, therefore, appears the legend of the woman and the lion, or rather lion-serpent. (This card is attributed to the letter Teth, which means a serpent.)
The seers in the early days of the Aeon of Osiris foresaw the Manifestation of this coming Aeon in which we now live, and they regarded it with intense horror and fear, not understanding the
precession of the Aeons, and regarding every change as catastrophe. This is the real interpretation of, and the reason for, the diatribes against the Beast and the Scarlet Woman in the XIII, XVIl and XVIII-th chapters of the Apocalypse; but on the Tree of Life, the path of Gimel, the Moon, descending from the highest, cuts the path of Teth, Leo, the house of the Sun, so that the Woman in the card may be regarded as a form of the Moon, very fully illuminated by the Sun, and intimately united with him in such wise as to produce, incarnate in human form, the representative or representatives of the Lord of the Aeon.
She rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death. In this cup are mingled the elements of the sacrament of the Aeon. The Book of Lies devotes one chapter to this symbol.
Seven are the veils of the dancing-girl in the harem of IT. Seven are the names, and seven are the lamps beside Her bed. Seven eunuchs guard Her with drawn swords; No man may come nigh unto Her. In Her wine-cup are seven streams of the blood of the Seven Spirits of God. Seven are the heads of THE BEAST whereon She rideth. The head of an Angel: the head of a Saint: the head of a Poet:
the head of an Adulterous Woman: the head of a Man of Valour: the head of a Satyr: and the head of a Lion-Serpent. Seven letters hath Her holiest name; and it is: 

This is the Seal upon the Ring that is on the Forefinger of IT: and it is the Seal upon the Tombs of them whom She hath slain,.
Here is Wisdom. Let him that hath Understanding count the Number of Our Lady; for it is the Number of a Woman; and Her Number is
An Hundred and Fifty and Six. There is a further description in The Vision and the Voice. (See Appendix.)
There is in this card a divine drunkenness or ecstasy. The woman is shown as more than a little drunk, and more than a little mad; and the lion also is aflame with lust. This signifies that the type of energy described is of the primitive, creative order; it is completely independent of the criticism of reason. This card portrays the will of the Aeon. In the background are the bloodless images of the saints, on whom this image travels, for their whole life has been absorbed into the Holy' Grail.

"Now ye shall know that the chosen priest & apostle of infinite space is the prince-priest the Beast; and in his woman called the Scarlet Woman all power is given. They shall gather my children into their fold; they shall bring the glory of the stars into the hearts of men.
"For he is ever a sun, and she a moon. But to him is the winged secret flame, and to her the stooping starlight."This sacrament is the physical-magical formula for attaining initiation, for the accomplishment of the Great Work. It is in alchemy the process of distillation, operated by internal ferment, and the in fluence of the Sun and Moon. Behind the figures of the Beast and his Bride are ten luminous rayed circles; they are the Sephiroth latent and not yet in order, for every new Aeon demands a new system of classification of the Universe. At the top of the card is shown an emblem of the new light, with ten horns of the Beast, which are serpents, sent forth in every direc tion to destroy and re- create the world.
Further study of this card may be made by close examination of Liber XV (Magick, pp.345 sqq.).
Mr Mojo Risen: 'Cure Blindness with a Whore's Spittle'...'In the womb we are blind cave fish'...'The moon is a dry blood Beast'... 'Antonio will be there and that whore, blue lady playing cards with silver decks and smiling at the night, and full of glasses held aloft and spilled to the moon, I'm sad, so full of sadness'...'A young woman, bound slightly, on a hospital table, obviously pregnant, is gutted and rifled of her empire. Objects of oblivion'...'Drugs sex drunkenness battle, return to the water-world sea-belly, mother of man, monstrous sleep-walking gentle swarming, atomic world, anomie in social life. How can we hate or love or judge in the sea-swarm world of atoms. All one, one all, how can we play or not play, how can we put one foot before us or revolutionize or write."
-Jim Morrison

"When Linnda Caporael began nosing into the Salem witch trials as a college student in the early 1970s, she had no idea that a common grain fungus might be responsible for the terrible events of 1692. But then the pieces began to fall into place. Caporael, now a behavioral psychologist at New York's Rensselaer Polytechnic Institute, soon noticed a link between the strange symptoms reported by Salem's accusers, chiefly eight young women, and the hallucinogenic effects of drugs like LSD. LSD is a derivative of ergot, a fungus that affects rye grain. Ergotism — ergot poisoning — had indeed been implicated in other outbreaks of bizarre behavior, such as the one that afflicted the small French town of Pont-Saint-Esprit in 1951.

Photo of professor discussing ergotBut could ergot actually have been the culprit? Did it have the means and the opportunity to wreak havoc in Salem? Caporael's sleuthing, with the help of science, provided the answers.

Ergot is caused by the fungus Claviceps purpurea,
which affects rye, wheat and other cereal grasses. When first infected, the flowering head of a grain will spew out sweet, yellow-colored mucus, called "honey dew," which contains fungal spores that can spread the disease. Eventually, the fungus invades the developing kernels of grain, taking them over with a network of filaments that turn the grains into purplish-black sclerotia. Sclerotia can be mistaken for large, discolored grains of rye. Within them are potent chemicals, ergot alkaloids, including lysergic acid (from which LSD is made) and ergotamine (now used to treat migraine headaches). The alkaloids affect the central nervous system and cause the contraction of smooth muscle — the muscles that make up the walls of veins and arteries, as well as the internal organs. 

Toxicologists now know that eating ergot-contaminated food can lead to a convulsive disorder characterized by violent muscle spasms, vomiting, delusions, hallucinations, crawling sensations on the skin, and a host of other symptoms — all of which, Linnda Caporael noted, are present in the records of the Salem witchcraft trials. Ergot thrives in warm, damp, rainy springs and summers. When Caporael examined the diaries of Salem residents, she found that those exact conditions had been present in 1691. Nearly all of the accusers lived in the western section of Salem village, a region of swampy meadows that would have been prime breeding ground for the fungus. At that time, rye was the staple grain of Salem. The rye crop consumed in the winter of 1691-1692 — when the first usual symptoms began to be reported — could easily have been contaminated by large quantities of ergot. The summer of 1692, however, was dry, which could explain the abrupt end of the 'bewitchments.' These and other clues built up into a circumstantial case against ergot that Caporael found impossible to ignore."

                                             And in the master's chambers,
                                             They gathered for the feast
                                             They stab it with their steely knives,
                                             But they just can't kill the beast

"There is no dark side of the moon really, matter of fact it's all dark" -Pink

John Whiteside Parsons (born Marvel Whiteside Parsons on October 2, 1914 – died June 17, 1952), better known as Jack Parsons, was an American rocket propulsion researcher at the California Institute of Technology. He was one of the principal founders of the Jet Propulsion Laboratory and the Aerojet Corp. He was also an occultist and one of the first Americans to take a keen interest in the writings ofEnglish author and Thelema's founder Aleister Crowley. In this capacity, he joined and eventually led an American lodge of Crowley'smagical order, Ordo Templi Orientis (O.T.O.)....
Parsons, a science fiction fan, had read in the fantasy pulp magazine Unknown the 1940 original shorter version of Jack Williamson "Darker Than You Think". Parsons had identified the redheaded female love interest of the protagonist with Babalon or the "Scarlet Woman", who Crowley had prophesied would help to fulfill the Aeon of Horus and announce to the world the end of the Aeon of Osiris represented by Christianity and other patriarchal religions and social institutions. In 1946, Parsons and Hubbard (whose works Fear and Typewriter in the Sky, among others, had actually appeared in Unknown) participated in a work of ceremonial magic known as the Babalon Working. In simple terms, the Babalon Working was a ritual to summon this Scarlet Woman. Paul Rydeen writes:

The purpose of Parson's [sic] operation has been underemphasized. He sought to produce a magickal child who would be a product of her environment rather than of herheredity. Crowley himself describes the Moonchild in just these terms. The Babalon Working itself was preparation for what was to come: a Thelemic messiah.

"The two books are very interesting and are very opposite yet the same in many ways. In The Catcher in the Rye, Holden is an idealistic character who becomes more of a realist as the novel progresses, while in the Lord of the Flies, many characters assume different roles. But the main argument between the two novels is that Holden has a dream job of being the catcher in the rye. The catcher in the rye symbolizes that Holden is on an imaginary cliff, trying to keep the children from falling off. The rye symbolizes childhood and innocence, but falling off would mean falling into the "phony" world of adult-hood. Holden wants to keep the kids on the rye preserving their innocence. In the Lord of the Flies, the boys are stuck on an island without adult supervision and quickly lose their innocence, becoming savages. Jack is the leader of the savages, and he is always acting very wild and crazy on the island. Jack yelled this quote a number of times, " Kill the pig! Cut his throat! Kill the pig! Bash him in!" ( Golding 126). The theme I am trying to connect, is it possible to stay innocent your whole life, or will everyone eventually lose their innocence?"

"Married to film director Roman Polanski in 1968, Tate was eight and a half months pregnant when she and her unborn child were murdered in her home, along with four others, by followers of Charles Manson...

Sharon Marie Tate (January 24, 1943 – August 9, 1969) was an American actress. During the 1960s she played small television roles before appearing in several films. After receiving positive reviews for her comedic performances, she was hailed as one of Hollywood's promising newcomers and was nominated for a Golden Globe Award for her performance in Valley of the Dolls (1967)."
Earlier, as the four Family members had headed out from Spahn Ranch, Manson had told the women to "leave a sign... something witchy". Using the towel that had bound Frykowski’s hands, Atkins wrote "pig" on the house’s front door, in Tate's blood. En route home, the killers changed out of bloody clothes, which were ditched in the hills, along with their weapons...The next night, six Family members—Leslie Van Houten, Steve "Clem" Grogan, and the four from the previous night—rode out at Manson’s instruction. Displeased by the panic of the victims at Cielo Drive, Manson accompanied the six, "to show [them] how to do it." After a few hours’ ride, in which he considered a number of murders and even attempted one of them, Manson gave Kasabian directions that brought the group to 3301 Waverly Drive. This was the home of supermarket executive Leno LaBianca and his wife, Rosemary, a dress shop co-owner. Located in the Los Feliz section of Los Angeles, it was next door to a house at which Manson and Family members had attended a party the previous year.'

When police raided the Spahn Ranch used as a base by the Family, they confiscated a door on which was written "Helter Skelter is coming down fast", and the words "1, 2, 3, 4, 5, 6, 7, all good children (go to heaven?)" - the latter words are heard in You Never Give Me Your Money. This was written before Abbey Road was ever released.

"It is well known that followers of Charles Manson committed the Tate-LaBianca during the late 1960's. If one examines the case closely, it becomes obvious that Manson used mind-control techniques such as hypnotism, LSD, and other types of mental programming to turn middle-class suburbanites into selfless killers, but one has to wonder just exactly how Manson was able to accomplish this?

Consider that Manson was part of the hippie movement at the time of the CIA's project, MKULTRA, which implemented the use of drugs in order to conduct mind control experiments.

It appears that part of Manson's own supply of LSD may have come directly from the CIA. A new type of LSD known as "Orange Sunshine" was being used by the Manson Family immediately prior to the Tate-LaBianca murders according to Family member Charles "Tex" Watson, who wrote in his prison memoir that it was the use of Orange Sunshine LSD that finally convinced him that Manson's violent, apocalyptic vision was real.

In addition, Tex Watson recounted in his testimony that Manson used other drugs such as "mescaline, psilocybin, and the THC, and STP" and described a "mental acid" that "drew stuff out of your mind; and the other (body acid)...would be drawing your body."

Later, when asked about the use of drugs in the Manson family "Tex" said, "People seem to think that Manson had all of us drugged out, while he remained sober so he could easily manipulate our minds. This may be true, but a sorcerer such as Manson uses mind-altering drugs himself in order to contact spiritual beings, and gain supernatural powers."
"He did use drugs to manipulate and control us, and the more drugs we took, the easier it was for him to manipulate us with his philosophy. We all began to reflect his views, a mirror image of destruction, growing worse every day. We mirrored his lifestyle and attitude toward society."
Orange Sunshine LSD was manufactured and distributed exclusively by a group known as "The Brotherhood of Eternal Love" who operated out of a beach resort near Los Angeles. The Brotherhood had among it's drug manufacturers and dealers, one Ronald Stark, who is believed to have manufactured 50 million doses of LSD, and had known connections to the CIA.

It was this very same batch of acid that was available in abundance four months later during the fateful free concert held at Altamont Speedway. Four people died at that concert, one of them after being brutally stabbed to death by a group of Hell's Angels who had been given access to multiple tabs of Orange Sunshine. Many people who attended that concert noted that the LSD seemed to be "contaminated" and that the general vibe one got from using it was that of extreme negativity, violence, and death. Additionally, Orange Sunshine was in use among American ground forces during the Vietnam war, having been smuggled into that country from the California coast.

Manson's personal obsession was with "Helter Skelter" and his belief was that this event would ignite a black-white race war in America; the Tate-LaBianca murders and the murder of musician Gary Hinman were definitely staged with false clues that the killers (or perhaps someone else) hoped would be blamed on elements of the "black militant" movement.

Manson has said in interviews that he based some of his philosophy on the science fiction novel Stranger in a Strange Land by Robert Hienlien. In a scenario perhaps reminiscent of Mark David Chapman's and John Hinckley's infatuation with Catcher in the Rye, could Stranger in a Strange Land somehow have been Manson's program-trigger mechanism? Was the concept of Helter Skelter part of Manson's program? It is interesting to note how the "science fiction" character of Valentine Michael Smith in Heinlien's Stranger in a Strange Land very closely parallels Manson's own life: Valentine Michael Smith was a human being who returned to Earth after being raised on Mars where he underwent training in the occult arts; Manson was isolated in prison where he also studied the occult extensively and has quipped that he viewed himself as a man with an alien mind after his release from prison in 1967; both Manson and the fictional "Smith" gathered about them a group of followers into a communal lifestyle and practiced a sort of "group mind" telepathy; both attempted to transform the world as we know if via their respective philosophies.

So it came to pass that Charles Manson was stuck in solitary confinement at Folsom Prison when a new inmate was placed in the adjoining cell. It was Tim Leary, who was eventually captured with Joanna Harcourt Smith, who later admitted working for the DEA. "They took you off the streets", Manson informed Leary, "so that I could continue with your work." Charlie couldn't understand how Leary had given so many people acid without trying to "control" them. 
With all this in mind, consider that if a ex-convict-turned-hippie like Charles Manson could program people to kill, then why not the U.S. Government?

In the book, Helter Skelter, Manson prosecutor Vincent Bugliosi discussed Manson's programming techniques in depth, likening much of Manson's programming abilities to those used by the U.S. military.

Manson was in prison during the time that the CIA was known to be using inmates at Vacaville prison in the MKULTRA experiments, a fact that leaves one to speculate that perhaps Manson was some sort of mind-controlled guru created by the CIA and set loose against the "subversive" left-wing elements in order to discredit them." 

Ginsberg raised the CIA issue during the conference, but few seemed to take the matter seriously. "The LSD movement was started by the CIA," quipped Timothy Leary with a wide grin on his face. "I wouldn't be here now without the foresight of the CIA scientists." The one-time Pied Piper of the flower children was in top form, laughing and joking with reporters, as though he hadn't been chased halfway around the world by US narcotics police and spent the last few years in prison. "It was no accident," Leary mused. "It was all planned and scripted by the Central Intelligence, and I'm all in favor of Central Intelligence."

"If you die when there's no one watching
and your ratings drop and you're forgotten
if they kill you on their TV
you're a martyr and a lamb of god
nothing's going to change
nothing's going to change the world

There was Lennon and a happy gun
There were words on the pavement
we were looking for the lamb of god
we were looking for Mark David"
-Marilyn Manson

      O Lamb of God, that takest away the sins of the world, have mercy upon us.
  O Lamb of God, that takest away the sins of the world, have mercy upon us.
O Lamb of God, that takest away the sins of the world, grant us thy peace.
'Agnus Dei' or Lamb Of God litany from the Roman Catholic Mass
 In the New Testament Christ is referred to as The Lamb Of God, the sacrificial offering which God sent down to Earth to take away the sins of the world. It illustrates the most prominent theme within Holy Wood of celebrity and martyrdom, and most specifically celebrity through death and martyrdom as is illustrated through Christ, JFK, and John Lennon, the theme that Holy Wood consistently revolves around as well as to illustrate the morbid fascination mankind has inherently felt towards the theme. Hence the lamb bleeding into the grail, whose blood we drink and whose body we feed upon in the form of a communion wafer; the idea of Celebritarianism, the devouring of celebrity as demonstrated by the first celebrity, Jesus Christ. 
This particular image is a detail of the centerpiece of the painting 'Adoration Of The Lamb' by the 15th century Northern Renaissance painter Jan Van Eyck, which in itself is the lower-center panel of the much larger polyptych, The Ghent Alterpiece. The inscription on the alter reads: ECCE AGNUS DEI, QUI TOLLIT PEC(CA)TA MV(N)DI, or the Latin translation of St. John quoted above.

The Lords: Notes on Vision
By James Douglas Morrison
Look where we worship.

 We all live in the city.

The city forms- often physically, but inevitably
psychically- a circle. A Game. A ring of death
with sex at its center. Drive towards outskirts
of city suburbs. At the edge of discover zones of
sophisticated vice and boredom, child prosti-
tution. But in the grimy ring immediately surround-
ing the daylight business district exists the only
real crowd life of our mound, the only street
life, night life. Diseased specimens in dollar
hotels, low boarding houses, bars, pawn shops,
burlesques and brothels, in dying arcades which
never die, in streets and streets of all-night

When play dies it becomes the Game.
When sex dies it becomes Climax.

All games contain the idea of death.

Baths, bars, the indoor pool. Our injured leader
prone on the sweating tile. Chlorine on his breath
and in his long hair. Lithe, although crippled,
body of a middle-weight contender. Near him
the trusted journalist, confidant. He liked men
near him with a large sense of life. But most
of the press were vultures descending on the
scene for curious America aplomb. Cameras
inside the coffin interviewing worms.

It takes large murder to turn rocks in the shade
and expose strange worms beneath. The lives of
our discontented madmen are revealed.

Camera, as all-seeing god, satisfies our longing
for omniscience. To spy on others from this
height and angle: pedestrians pass in and out of
our lens like rare aquatic insects.

Yoga powers. To make oneself invisible or small.
To become gigantic and reach to the farthest things.
To change the course of nature. To place oneself
anywhere in space or time. To summon the dead.
To exalt senses and perceive inaccessible images,
of events on other worlds, in one's deepest inner
mind, or in the minds of others.

The sniper's rifle is an extension of his eye. He
kills with injurious vision.

The assassin(?), in flight, gravitated with
unconscious, instinctual insect ease, moth-
like, toward a zone of safety, haven from the
swarming streets. Quickly, he was devoured
in the warm, dark, silent maw of the physical

Modern circles of Hell: Oswald(?) kills President.
Oswald enters taxi. Oswald stops at rooming house.
Oswald leaves taxi. Oswald kills Officer Tippitt.
Oswald sheds jacket. Oswald is captured.

He escaped into a movie house.

In the womb we are blind cave fish.

Everything is vague and dizzy. The skin swells and
there is no more distinction between parts of the
body. An encroaching sound of threatening,
mocking, monotonous voices. This is fear and
attraction of being swallowed.

Inside the dream, button sleep around your body
like a glove. Free now of space and time. Free
to dissolve in the streaming summer.

Sleep is an under-ocean dipped into each night
At morning, awake dripping, gasping, eyes

The eye looks vulgar
Inside its ugly shell.
Come out in the open
In all of your Brilliance.

Nothing. The air outside
burns my eyes.
I'll pull them out
and get rid of the burning.

Crisp hot whiteness
City Noon
Occupants of plague zone
are consumed.

(Santa Ana's are winds off deserts.)

Rip up grating and splash in gutters.
The search for water, moisture,
"wetness" of the actor, lover.

"Players"-the child, the actor, and the gambler.
The idea of chance is absent from the world of the
child and primitive. The gambler also feels in
service of an alien power. Chance is a survival
of religion in the modern city, as is theater,
more often cinema, the religion of possession.

What sacrifice, at what price can the city be born?

There are no longer "dancers", the possessed.
The cleavage of men into actor and spectators
is the central fact of our time. We are obsessed
with heroes who live for us and whom we punish.
If all the radios and televisions were deprived
of their sources of power, all books and paintings
burned tomorrow, all shows and cinemas closed,
all the arts of vicarious existence…

We are content with the "given" in sensation's
quest.  We have been metamorphosised from a mad
body dancing on hillsides to a pair of eyes
staring in the dark.

Not one of the prisoners regained sexual balance.
Depressions, impotency, sleeplessness…erotic
dispersion in languages, reading, games, music,
and gymnastics.

The prisoners built their own theater which
testified to an incredible surfeit of leisure.
A young sailor, forced into female roles, soon
became the "town" darling, for by this time they
called themselves a town, and elected a mayor,
police, aldermen.

In old Russia, the Czar, each year, granted-
out of the shrewdness of his own soul or one of
his advisors'- a week's freedom for one convict
in each of his prisons. The choice was left to the
prisoners themselves and it was determined in
several ways. Sometimes by vote, sometimes by lot,
often by force. It was apparent that the chosen
must be a man of magic, virility, experience,
perhaps narrative skill, a man of possibility, in
short, a hero. Impossible situation at the
moment of freedom, impossible selection,
defining our world in its percussions.

A room moves over a landscape, uprooting the mind,
astonishing vision. A gray film melts off the
eyes, and runs down the cheeks. Farewell.

Modern life is a journey by car. The Passengers
change terribly in their reeking seats, or roam
from car to car, subject to unceasing transformation.
Inevitable progress is made toward the beginning
(there is no difference in terminals), as we
slice through cities, whose ripped backsides present
a moving picture of windows, signs, streets,
buildings. Sometimes other vessels, closed
worlds, vacuums, travel along beside to move
ahead or fall utterly behind.

Destroy roofs, walls, see in all the rooms at once.

From the air we trapped gods, with the gods'
omniscient gaze, but without their power to be
inside minds and cities as they fly above.

June 30th. On the sun roof. He woke up suddenly.
At that instant a jet from the air base crawled
in silence overhead. On the beach, children try
to leap into its swift shadow.

The bird or insect that stumbles into a room
and cannot find the window. Because they know
no "windows".

Wasps, poised in the window,
Excellent dancers,
detached, are not inclined
into our chamber.

Room of withering mesh
read love's vocabulary
in the green lamp
of tumescent flesh.

When men conceived buildings,
and closed themselves in chambers,
first trees and caves.

(Windows work two ways,
mirrors one way.)

You never walk through mirrors
or swim through windows.

Cure blindness with a whore's spittle.

In Rome, prostitutes were exhibited on roofs
above the public highways for the dubious
hygiene of loose tides of men whose potential
lust endangered the fragile order of power.
It is even reported that patrician ladies, masked
and naked, sometimes offered themselves up to
these deprived eyes for private excitements of
their own.

More or less, we're all afflicted with the psychology
of the voyeur. Not in a strictly clinical or
criminal sense, but in our whole physical and
stance before the world. Whenever we seek to break
this spell of passivity, our actions are cruel and
awkward and generally obscene, like an invalid who
has forgotten how to walk.

The voyeur, the peeper, the Peeping Tom, is a dark
comedian. He is repulsive in his dark anonymity,
in his secret invasion. He is pitifully alone.
But, strangely, he is able through this same silence
and concealment to make unknowing partner of
within his eye's range. This is his threat and

There are no glass houses. The shades are drawn
and "real" life begins. Some activities are impossible
in the open. And these secret events are the voyeur's
game. He seeks them out with his myriad army of
eyes- like the child's notion of a Diety who sees
all. "Everything?" asks the child. "Yes, every-
thing", they answer, and the child is left to cope
with this divine intrusion.

The voyeur is masturbator, the mirror his badge,
the window his prey.

Urge to come to terms with the "Outside", by
absorbing, interiorizing it. I won't come out,
you must come in to me. Into my womb-garden
where I peer out. Where I can construct a universe
within the skull, to rival the real.

She said, "Your eyes are always black". The pupil
opens to seize the object of vision.

Imagery is born of loss. Loss of the"friendly
expanses". The breast is removed and the face
imposes its cold, curious, forceful, and inscrutable

You may enjoy life from afar. You may look at
things but not taste them. You may caress
the mother only with the eyes.

You cannot touch these phantoms.

French Deck. Solitary stroker of cards. He
dealt himself a hand. Turn stills of the past in
unending permutations, shuffle and begin. Sort
the images again. And sort them again. This
game reveals germs of truth, and death.

The world becomes an apparently infinite, yet
possibly finite, card game. Image combinations,
permutations, comprise the world game.

A mild possession, devoid of risk, at bottom
sterile. With an image there is no attendant

Muybridge derived his animal subjects from the
Philadelphia Zoological Garden, male performers
from the University. The women were professional
artists' models, also actrsses and dancers,
parading nude before the 48 cameras.

Films are collections of dead pictures which are
given artificial insemination.

Film spectators are quiet vampires.

Cinema is most totalitarian of the arts.  All
energy and sensation is sucked up into the skull,
a cerebral erection, skull bloated with blood.
Caligula wished a single neck for all his subjects
that he could behead a kingdom with one blow.
Cinema is this transforming agent. The body
exists for the sake of the eyes; it becomes a
dry stalk to support these two soft insatiable

Film confers a kind of spurious eternity.

Each film depends upon all the others and drives
you on to others. Cinema was a novelty, a scientific
toy, until a sufficient body of works had been
amassed, enough to create an intermittent other
world, a powerful, infinite mythology to be dipped
into at will.

Films have an illusion of timelessness fostered
by their regular, indomitable appearance.

The appeal of cinema lies in the fear of death.

The modern East creates the greatest body of films.
Cinema is a new form of an ancient tradition- the
shadow play. Even their theater is an imitation
of it. Born in India or China, the shadow show
was aligned with religious ritual, linked with
celebrations which centered around cremation of the

It is wrong to assume, as some have done, that
cinema belongs to women. Cinema is created by
men for the consolation of men.

The shadow plays originally were restricted to
male audiences. Men could view these dream shows
from either side of the screen. When women later
began to be admitted, they were allowed to attend
only to the shadows.

Male genitals are small faces
forming trinities of thieves
and Christs
Fathers, sons, and ghosts.

A nose hangs over a wall
and two half eyes, sad eyes,
mute and handless, multiply
an endless round of victories.

These dry and secret triumphs, fought
in stalls and stamped in prisons,
glorify our walls
and scorch our vision.

A horror of empty spaces
propagates this seal on private places.

Kynaston's Bride
may not appear
but the odor of her flesh
is never very far.

A drunken crowd knocked over the apparatus,
and Mayhew's showman, exhibiting at Islington
Green, burned up, with his mate, inside.

In 1832, Gropius was astounding Paris with his
Pleorama. The audience was transformed into
the crew aboard a ship engaged in battle. Fire,
screaming, sailors, drowning.

Robert Baker, an Edinburgh artist, while in jail
for debt, was struck by the effect of light shining
through the bars of his cell through a letter he
was reading, and out of this perception he in-
vented the first Panorama, a concave, transparent
picture view of the city.

The invention was soon replace by the Diorama,
which added the illusion of movement by shifting
the room. Also sounds and novel lighting effects.
Daguerre's London Diorama still stands in Regent's
Park, a rare survival, since these shows depended
always on effects of artificial light, produced
by lamps or gas jets, and nearly always ended
in fire.

Phantasmagoria, magic lantern shows, spectacles
without substance. They achieved complete
sensory experiences through noise, incense,
lightning, water. There may be a time when
we'll attend Weather Theaters to recall the
sensation of rain.

Cinema has evolved in two paths.

One is spectacle. Like the phantasmagoria, its
goal is the creation of a total substitute
sensory world.

The other is peep show, which claims for its
realm both the erotic and the untampered obser-
vance of real life, and imitates the keyhole or
voyeur's window without need of color, noise

Cinema discovers its fondest affinities, not
with painting, literature, or theater, but with
the popular diversions- comics, chess, French,
and Tarot decks, magazines, and tattooing.

Cinema derives not from painting, literature,
sculpture, theater, but from ancient popular
wizardry. It is the contemporary manifestation
of an evolving history of shadows, a delight in
pictures that move, a belief in magic. Its
lineage is entwined from the earliest beginning
with Priests and sorcery, a summoning of phantoms.
With, at first, only slight aid of the mirror and
fire, men called up dark and secret visits from
regions in the buried mind. In these seances,
shades are spirits which ward off evil.

The spectator is a dying animal.

Invoke, palliate, drive away the Dead. Nightly.

Through ventriloquism, gestures, play with objects,
and rare variations of the body in space,
the shaman signaled his "trip" to an audience
which share the journey.

In the seance, the shaman led. A sensuous panic,
deliberately evoked through drugs, chants, dancing,
hurls the shaman into trance. Changed voice,
convulsive movement. He acts like a madman. These
professional hysterics, chosen precisely for their
psychotic leaning, were once esteemed. They
mediated between man and spirit-world. Their mental
travels formed the crux of the religious life of
the tribe.

Principle of seance: to cure illness. A mood
might overtake a people burdened by hisorical
events or dying in a bad landscape. They seek
deliverance from doom, death, dread. Seek possess-
ion, the visit of gods and powers, a rewinning
of the life source from demon possessors. The
cure is culled from ecstasy. Cure illness or
prevent its visit, revive the sick, and regain
stolen, soul.

It is wrong to assume that art needs the spectator
in order to be. The film runs on without any eyes.
The spectator cannot exist without it. It insures
his existence.

The happening / the event in which ether is introduced
into a roomful of people through air vents makes
the chemical an actor. Its agent, or injector,
is an artist-showman who creates a performance
to witness himself. The people consider themselves
audience, while they perform for each other,
and the gas acts out poems of its own through
the medium of the human body. This approaches
the psychology of the orgy while remaining in
the realm of the Game and its infinite permu-

The aim of the happening is to cure boredom,
wash the eyes, make childlike reconnections
with the stream of life. Its lowest, widest
aim is for purgation of perception. The happening
attempts to engage all the senses, the total
organism, and achieve total response in the face of
traditional arts which focus on narrower inlets
of sensation.

Multimedias are invariably sad comedies. They
work as a kind of colorful group therapy, a
woeful mating of actors and viewers, a mutual
semimasturbation. The performers seem to need
their audience and the spectators- the spectators
would find these same mild titillations in a freak
show or Fun Fair and fancier, more complete
amusements in a Mexican cathouse.

Novices, we watch the moves of silkworms who excite
their bodies in moist leaves and weave wet nests
of hair and skin.

This is a model of our liquid resting world
dissolving bone and melting marrow
opening pores as wide as windows.

The "stranger" was sensed as greatest menace
in ancient communities.

Metamorphose. An object is cut off fom its name,
habits, associations. Detached, it becomes only
the thing, in and of itself. When this disintegration
into pure existence is at last achieved, the object
is free to become endlessly anything.

The subject says "I see first lots of things
which dance…then everything becomes gradually

Objects as they exist in time the clean eye and
camera give us. Not falsified by "seeing".

When there are as yet no objects.

Early film makers, who- like the alchemists-
delighted in a willful obscurity about their craft,
in order to withhold their skills from profane

Separate, purify, reunite. The formula of
Ars Magna, and its heir, the cinema.

The camera is androgynous machine, a kind of
mechanical hermaphrodite.

In his retort the alchemist repeats the work of

Few would defend a small view of Alchemy as "Mother
of Chemistry", and confuse its true goal with those
external metal arts. Alchemy is an erotic science,
involved in buried aspects of reality, aimed
at purifying and transforming all being and matter.
Not to suggest that material operations are ever
abandoned. The adept holds to both the mystical
and physical work.

The alchemists detect in the sexual activity of
man a correspondence with the world's creation,
with the growth of plants, and with mineral
formations. When they see the union of rain
and earth, they see it in an erotic sense, as
copulation. And this extends to all natural
realms of matter. For they can picture love
affairs of chemicals and stars, a romance
of stones, or the fertility of fire.

Stange, fertile correspondences the alchemists
sensed in unlikely orders of being. Between
men and planets, plants and gestures, words and
weather. These disturbing connections: an in-
fant's cry and the stroke of silk; the whorl
of an ear and an appearance of dogs in the yard;
a woman's head lowered in sleep and the morning
dance of cannibals; these are conjunctions which
transcend the sterile signal of any "willed"
montage. These juxtapositions of objects, sounds,
actions, colors, weapons, wounds, and odors shine
in an unheard-of way, impossible ways.

Film is nothing when not an illumination of
this chain of being which makes a needle poised
in flesh call up explosions in a foreign capitol.

Cinema returns us to anima, religion of matter,
which gives each thing its special divinity and
sees gods in all things and beings.

Cinema, heir of alchemy, last of an erotic science.

Surround Emperor of Body.
Bali Bali dancers
Will not break my temple.

suck eyes into the head.

The rosy body cross
secret in flow
controls its flow.

in body weights dance
and music, mimesis, body.

entertain embryo
sweet dangerous thrust flow.

The Lords. Events take place beyond our knowledge
or control. Our lives are lived for us. We can
only try to enslave others. But gradually, special
perceptions are being developed. The idea of the
"Lords" is beginning to form in some minds. We
should enlist them into bands of perceivers to
tour the labyrinth during their mysterious noc-
turnal appearances. The Lords have secret entrances,
and they know disguises. But they give themselves
away in minor ways. Too much glint of light in
the eye. A wrong gesture. Too long and curious a

The Lords appease us with images. They give us
books, concerts, galleries, shows, cinemas. Es-
pecially the cinemas. Through art they confuse
us and blind us to our enslavement. Art adorns
our prison walls, keeps us silent and diverted
and indifferent.

Dull lions prone on a watery beach.
The universe kneels at the swamp
to curiously eye its own raw
postures of decay
in the mirror of human consciousness.

Absent and peopled mirror, absorbent,
passive to whatever visits
and retains its interest.

Door of passage to the other side,
the soul frees itself in stride.

Turn mirrors to the wall
in the house of the new dead.