/rp/ is for the discussion of religion, philosophy and its related literature, specifically books (fiction & non-fiction), short stories, poetry, creative writing, etc. If you want to discuss numbers go to /numo/. Philosophical discussion can go on either /rp/ or /numo/, but those discussions of philosophy that take place on /rp/ should be based around specific philosophical and religious works to which posters can refer.
/rp/ is a slow board!
what is anonymous? it is the unnamed, what is a name? a name is related projection of something. an image, a symbol, a representation. some would go as far as to say these representations are not real, but they are still related to the thing that has created them via lemur-connection, then what is the nature of this symbol-projection-image nature?
to know of anything there is a source, but what does it mean that there is a source? it means that there is a separation between what is kept (the thing) and what is discarded (luminance/radiance). then what is radiance? is radiance itself a part of the thing or is it already not the thing? they are both the thing and not at the same time, they carry within them the nature of the thing but at the same time must necessarily escape it. light is contradiction, to speak is to separate, words are power, in the nature that it is utter meaninglessness. a floating signifier, but a floating signifier with a parameter that would allow itself to manifest in manifold ways. is there a quintessential word that can finally be approached at the end of days? to answer is folly, as word is contradiction and unity manifest in itself, blasphemous, demonic, and begins the descent into a age of paranoia and self-destruction. this is the nature of sin, and has been inside the speech and power of god from the very beginning. to love god is to fight god, but in such a perverse way, that even that itself is wrong. where do we begin, where do we end? yhes
You can lie and say I don't know you, but we bonded in the well
we've pierced the veil. seen through the dark. our eyes don't need the light.
Through the void we are touching
You see me every night
We know we know me just like we know ourself
Oh the stars they shine so brightly
they make me hate the moon
Poison sun reflected
hides their beauty from buffoons
I know that you are looking, I know that you can't stop
you sit inside my mind just looking
must be lonely at the top
but I spit fire, I'm the best
I really like that.
^^ excited 2 hear that
danger from beyond the stars
evidenced by our own intelligence
celestial selection from on high
power as demand to continue
that which is strongest will persist
in persistence all greatness lies
the oldest in the sky as mark of virtue
that which returns is the strongest
seven pointed star of pleasure
wisdom from all time
ones brave enough to cast the dice with luck enough to cast again
a god is being birthed
even as we speak
good luck means salvation
bad luck and were damned
Grains of sifting sand drift through space, flowing past each other, slipping down and piling in the bottom of hour shaped glass. Clicking hands cyclicly trace the edges of geared faces. The Earth’s shifting shadow falls across the sky. Lunar fades to solar and back again. Time, existence, being & becoming. Change. This, the truth of the world which we occupy, yet manages to maintain itself in a state beyond this defining alteration, as all truths must; existing as equally valid regardless of the moment. Truth-Eternal, all knowledge must find its way to this stability.
“Please note that these tinctures are all either poisonous or illegal. I only include them for reference. Use them at your own risk” - S. Connnolly
Science, often taken for granted as the method by which dreams are brought into being, seems to defy the inconsistency by which we are surrounded. Standing solid inside the flow, what can be the relation between truth and time? How can we reveal the real? To meet with this properly atheistic possibility it is necessary to recount the philosophically recorded history.
Four possibilities Exist
Concept is eternity (parmenides/spinoza)
Concept is eternal and relates to 1. Eternity
1.a. outside time (plato) 1.b. inside time (aristotle)
2. Time (kant)
Concept is time (hegel)
Concept is temporal (there is no eternal truth)
Oh! >>139 Spinny, Spinac, Spitstacheo, errr... Ol Spinster. I know that guy He was a psycho that spent his life crafting geometric lenses for three eyes. And as reported by his bibliographer breaking into fits of erotic laughter while watching personally arranged spider death matches. I heard he even felt that warfare could be a relative perfection if human essence was insectoid. Spiders expressing their relationship with the world through their web or whatever. For him only a thinker had a potent life, a life that explained them.
After getting excommunicated from the Amsterian Jewish community by choice Ol Spinster spent his in and out of boarding houses asking only that is uncommon aim be tollerated. Poor guy couldnt integrate anywhere. Which maybe had something to do with his distaste for indian companies and the orange houses where calvin would throw this S&M parties. Asking himself "Whats with all these death cults and bondage?"
Refusing to works several jobs offered him by universities and preferring to remain a private thinker, He drew up a coupe things on ethics, theological treatise and himself in Nepolitan costume.
P.3-14 Spinoza Practical Philosophy
I'd love to say "Thanks Nep", but this doesn't really give me much to go on about this guys philosophy.
What's your most accursed diety?
Where are they from?
How long have they been following you?
I had an acid trip once where Idididil/Ididid asked if I wanted to talk. Of course I let fear get the better of me pussied out. A shamefully missed opportunity; have been looking for a way to talk to it sense.
I don't know about accursed, but ive recently fallen into a fascination with Belial.
According to the key of Solomon Belial is summoned to grant offices and gain favor with friends and foes. They appears as two beautiful angels in a flaming chariot, and proudly declares they were the second to fall after Lucifer. Other texts place them as the ruler of the second dark world. They are a well known deceiver, double timing two faced, which reinforced my perception of their affinity with the number 2.
While some speculate that Belial is a god form from Babylon, given that Bel= Lord and Al=god; and while not mutually exclusive, it is certainly the case that when used in the bible the name comes from the is derived from the Hebrew word for worthless or useless. I's sometimes debate weather Belial is a proper name for a daemon at all be cause of this. Most instances of its usage are in relation to the sons or daughters of Belial, or the useless sons and daughters. though 2 Corinthians 6:14-15 does place Belial in direct opposition to Christ.
14 Do not be yoked with unbelievers. For what do righteousness and wicked ness have in common? Or what fellow ship can light have with darkness?
15 what harmony is there between Christ and Belial? What harmony is there between a believer and an unbeliever
There are some extraneous texts to the bible that seem to support this conclusion. The Testament of the
I'm a bit of a fan of Belial myself. Although, I really only know of them through Angel Sanctuary. I think they're a really fascinating character, even if the manga itself is only so so. The whole manga is full of forbidden romances, which shouldn't be all that surprising since the whole story centers around the main character's, Setsuna, pursuit of his biological sister. While many of the romances that happen in the manga are of a tragic nature where the lovers are separated by time death or duty; (Setsuna, being the savior, of course defies all of these to reunite with his little sister) Belials is particularly tragic because their love has been unrequited since the beginning. Lucifer's most loyal servant and madly in love with him, Belial spends the first half of the series trying to save the hell that their lord has vanished from. Lucifer melded their flesh with the plane before vanishing and now the only thing that maintains the space is a series of blood sacrifices made in his honor. upon the 999th hell would become stable. This is a task that Belial is particularly well suited for since, as your post stated, they are a master of deception and likable even by the standards of their enemies. Making every effort to maintain androgyny, Belial is notably attractive and has a series of relationships men and women throughout the series. So much so in fact that this is how
You know? I am getting real tired of low effort posters like you dropping off topic nonsense in these threads. your word choice is banal and repetitive, your grammar is terrible, and your punctuation is not only non standard but increases reading difficulty. Is it that much to ask that you take the time to edit before you post? Honestly we are a high brow, high quality, high seriousness organization; and I can't imagine people are going to take us with the gravity we deserve when you clowns keep tossing out offerings like this. Manga is hardly literature. so at least have the decency to make your own thread for this trash, and leave the rest of us to have our adult discussions about esoterica in peace.
AKA Tarchimache¹ the light fearing top ranking bureaucrat of hell², Lucifers #1 fan boy and bringer of absolute stupidity. This guy has deep pockets, collects giant rings, and looks like a jester. In the Grand Grimoire he's described as a go between for those who wish to make a pact with Lucifer³, , and is personally endowed with the capacity to both turn you invisible and make girls fall in love with you.⁴ Lucifuge is also noted to be the ruler of Satriel (8)⁵ on the Qliphotic tree of death. The place of absurdities and intellectual mysteries where darkness becomes light, time destiny and fate are intertwined and the draconian principle is realized. Gha’asheblah (7)⁶ becomes important in relation to Satriel through the Abyss that separates the top 3 Qliphoth from the rest of the tree. According to Qabalah, Qliphoth and Goetic Magic consists of passing through 11 stages of the Qliphotic tree. Similar to the sumerian myth of Inanna/Ishtar passing through the seven gates to the underworld, the adept loses an aspect of the tree of life at each of the first seven Qliphoth as Innana lost a piece of clothing at each gate. Arriving at the seventh qliphoth Gha’asheblah, the entrance of the abyss, naked. Passing through the Abyss strips away what was and makes divine, if permanent failure is to happen it will happen here. The lessons learned at Gha’agsheblah ought prepare the adept for a successful crossing. Lust and suffering freely passing in and out of one another. Death transformed into life, rebirth through Eros. When entering the abyss the adept, like Ishtar, experiences a death. Here Choronzon consumes the corpse of their limited self and failed adept will not proceed
Choronzon rules the abyss and is associated with current 333⁸ which also happens to be the anglossa Qabbalah⁹ equivalent of Dark Enlightenment. A gematria system and movement both spearheaded by one Mister Nickolas Land. Interestingly¹⁰ Choronzon is a demon of dispersion and dispersion is something that a large portion of mister Lands work has centered around.¹¹ This dispersion is realized in Thelma, a cult in part developed by A. Crowley¹² though the embrace of a love that carries us through a complete loss of ego, a ruthless annihilation of everything we once were. Where failure arrives as a complete and incurable insanity of unsortable overly associated sensory input.¹³
The absolute and obsessional stupidity of love then is what brings an individual to the otherside where dark turns to light and we begin to see clearly in the shadows. Lead through the Tunnels by Lucifuge to meet the underworld ruler.
¹And here marked as a deputy of Belzebuth ((Stratton-Kent)
²Presumably likes shadows
³ (Belanger) 193
⁴ Kind of sinister
Numbered twenty-nine⁰ and bearer of the undoubtedly most beautiful sigil in the Goetia. The multifaceted Goddess has a significant and varied history behind her. I can only give the briefest of explanations, so i’ll do my best to touch on everything of relevance. While her exact origins might always remain somewhat unclear, what is clear are the aspects emerging combining and splitting that can be associated under Astaroth.
Astarte, the greek name for the the Phonecian and Cannanite Godess Asteroth semitic, holds a position over War & Love¹ , Fertility & Weather. Attributed the power to tell how each angel fell², reveal mines and transmute metals³ , as well as confer the favour of the great and powerful due to her relation to Sirius⁴ and Procyon⁵, She bears an association with the moon and venus⁶ which bleeds through the shortened list of Goddesses Aserah, Artemis⁷, Innanna⁸, Ishtar⁹ , Isis, and Hecate.¹⁰
“Given the combined influence of the cult of Isis, and the Syrian goddess, on the later christian cult of Mary, Astarte is among the most influential and important of all classical deities.”¹¹
Starting at her status as a fertility goddess, her powers over storm and rain raise crops in the field, but with rainstorms comes thunder, and from the roars of thunder she falls into the role of war. Associated with roaring animals, the bull and the lion, Inanna is known to have her chariot drawn by seven lions, ride a lion, or herself be one. Just as Astharthet is depicted with a lions head riding a chariot in as early as 1800 b.c. where she also is associated with the Isis Hathor cult in the role of love goddess.¹²
War and love have never been strangers to Venus nor each other. In her form as the evening star Ishtar represents rain, war and sexual love. As Morning star Inanna presides over productive work and war, enacting punishments and revenge on those who she has judged in her court. As evening star she relaxes into recreation, is the goddess of music and dance, and becomes the harlot protector of prostitutes and ale houses. Ishtar contains all these same aspects but is divided into different forms as the morning Eshtar/Attar and evening Asttarte stars.¹³
Our discussion couldn't be less complete without talking about her relation to the moon. A new one of which is when she holds court to hear the cries of those in distress and does all the judging I mentioned earlier. Similarly on new moons the wealthiest around would make a great feast to place in the streets for the poor, and upon consumption those who had eaten would declare it was the great Hecate who had enjoyed the food. Hecate rewarded and punished all, relieving offerings for pardon at this time. Her authority here extended beyond even kings into the depths of the underworld.¹⁴
Pillars and poles make a strong showing in symbolic relation to our Goddess. The ceremonial p0le is the primary symbol of the Goddess Asherah, and equally associated with Astarte.¹⁵ Pillars and poles are also central to the cult of Isis-Hathor. HecatePropylaia or the one before the gate, being a goddess of crossroads is associated with sign posts as well as being placed in the doorways of homes, where masks in the number of three¹⁶ were often hung.¹⁷ While Inanna was embodied on the pillars of the gate to grain store houses.¹⁸
Another of the most common aspects that echos through these goddesses is their relation to the dying God and thus the underworld. Inanna/Ishtar and Dumuzi/Tammuz¹⁹ could serve as the typical example.²⁰ A common rendition of the tale has Ishtar descending through seven gates losing a piece of clothing at each²¹ before entering the seventh with no coverings.
At the behest of >>105 I've decided to make a unique thread for these posts to talk about a collection of tales centered around forbidden, lost, passed up, incestuous, violent, spiteful, unrequited, unrecognized, criminal or the otherwise tragically inclined love affairs which drive one of my favorite manga; Angel Sanctuary. So many ships passing in the night, bursting on each other, or falling away into oblivion without a word. A beautiful and serene world whose cold surfaces never lose their warm core of hope held in the hearts of its actors throughout their trials, doomed as each may be.
The series features twenty volumes, two official art books: bearing the titles Angels Gate and Lost Angel, as well as a 3 episode OVA. All of which, I believe, is worth a look. There are also some audio dramas which I haven't had the chance, or the skill, to take a listen to.
For this initial post I'm just going to outline a few I'm hoping to get to, but I'll be sure to spoiler all of that so we don't ruin anybody's fun. Also here is my initial post >>104, which I probably ought to have spoilered* as well ^^;
The complicated and incestuous love of the inorganic angel Rosiel directed at his sister the Organic angel Axiel both of whom hold the highest [pun] rank possible as three winged
Lucifer and his romantic involvements with other angels, fallen or otherwise and a few with humans to boot. what a dog ;)
Kurai, the soon to be dragon master of the Evils clan who occuppy the uppermost level of hell, with her relative Arcane and a bit the protagonist Setsuna
Thats the manga with the fashy angels that commit genocide on a lower class of red eyed angels they call rabbits because their sexual reproduction caused physical deformities in some of them right?
Grimy grim grimorium nep fans! I just spent an afternoon reading theMagister Officiorium⁰ A volume that deals primarily with rituals of evocation, “physical interaction with spirits”, in the radiation of Slolumic ceremony. So, im putting together this thread for these thoughts, and future entries, of possibly more totemic quality.
Resting somewhere in between orthodox and archetypal, drawing from the tradition of Obeah¹and a host of magical texts, our “fiery tongued Brazilian”² friend sets out to direct us in creating our own tome of
“...many evil and false invocations of devils, divinations, charms, and other things of the magical art which give a very bad example and are against god and the holy christian faith.”³
From the top then, or in this case the cover. A fancy black slipped cover, depending on your addition, which hosts an emblem of what at first appears to be a cross, but is actually a dastardly downward facing dagger. Which just so happens to be the first of the tools prescribed for the summons with which we’ll fill our scary buisness book. And while some sources say that just any old blade will do, our pal Ody assured me that one with a black handle and blade tempered in oil and human blood on a tuesday from iron that was used to commit a murder. will be the most effective!⁴ Other handy dandies include the magic of circles, a white robe with the symbols for Alph and Omegle, and a nifty Solinium belt and ring combo that are both probably unnecessary, as well as sometimes not quite enough depending on what kinda calls you’re gonna make; but you’ll snag those two a little later anyway. This spooked up pokey stabby is mostly useful for protections, like retracing the circle, but it also adds a bonus to your threaten skill! and can be a a real boon in case you need to get that red life juice you keep inside to be outside for whatever read many reasons. Now all of this swag will be of aid for those evococitations i mentioned earlier. You have to render these invisibles visible if you wanna question em or snag their autograph on your pages. Ody likens this to the practice of exorcism⁵since it rides on the same principles of reminding spirits of their limited power in this world as well as commanding and threatening them to do your bidding in the names of higher authorities; like God, Angels or Deamon Kings.
What is implicit in the choice of names both inscribed on the regalia and in the words spoken is that there is a hierarchy which the spirits heed and of which they are reminded throughout the ritual, as proposed earlier when discussing authority. … top of the hierarchy sits the Heavens, … the various epithets of God and his Angels, descending to the sublunary spirits - or the spirits of air ⁶
And Mr. Ody offers us “... a series of conjuratyions of increasingly high pressure…”⁷ to accomplish this. Reminding us that, almost every grimore can “in the best of cases encompass the fundamentals of evocation… a suitable starting point.”⁸, but it is the desire of “would be practitioners” who need to make everything as convenient as possible that creates a quirky hobbyist. Ritual magicks are some serious stuff, and while “...adequate performance is in no way reliant on either acceptance of the religious precepts that govern it, or an understanding of the mechanisms by which we evoke and control them. It behooves the practitioner to … preform the ceremonies … so that its particulars can be grasped through trial, error and observation.”⁹, as a novice our authority comes from a reliance on tradition. Subsequent successes with “... capturing a signature and oath from the spirit that they will fulfil the charges as issued;...”¹⁰ will bring standing, and recognition on the part of spirits will make future workings easier.
“Take solace in the fact that, …, every facet of it is an enactment of an earlier method that upon inspection will be shown to vary.”¹¹
⁰ A book by Julio Cesar Ody who announces himself as a practitioner of both Obeah and Trinidad Kabbalah, from whence he brings us these “...technologies…”. p.55(Ody 2019)
¹A tradition originating from the Caribbean and derived from African, Native, and European beliefs; the practice of which was criminalized as early as 1760 p.XV(Ody 2019)
²Back flap of dust jacket (Ody 2019)
³ p. 4 (Ody 2019)
⁴Bear in mind though that mister Ody thinks it wiser (and easier) to obtain the material from a licenced professional at your local military base, as well as using a divinitory spirit to verify the death at the edge of the blade. P15-6 (Ody 2019)
⁵The og King of solomon was said to be an exceptional exorcist (Crowley et al. 2017)
⁶P.8 (Ody 2019)
⁷ p.xix (Ody 2019)
⁸ P. 55 (Ody 2019)
⁹ p.54(Ody 2019)
¹⁰ P.6 (Ody 2019)
¹¹ P.7 (Ody 2019)
Slithery scaly not so slimy squirmers, i love me some venomous coiling strikers! Big fangs, egg gulp or strangulation; method of murder matters not - all serpents belong here cuz its about snake talk.
These belly sliders have an oddly androgynous symbology. At once undeniably phallic but consistently associated with feminine power. They have a reputation for being toxic deceitful liars, with the forked tongues to match. Hence they are often considered to be some of the most evil, detestable, neir do well, low lifes around. This baseness though offers them almost infinite opportunity to reach upwards. Associations with prophecy and dreams lends some to believe them to be an embodiment of some sacred hidden wisdom. Some might be surprised to find out that Medusas' snakey locks were once seen as a sign of the aforementioned before powers paternal flipped the tables and branded her as the dreaded Gorgon. though not least of their contradictory attributions, nor particularly uncommon for the extra caustic creepy crawls, has to be their association with death and rebirth, bearers of eternity. While the death parts probably pretty obvious, the rebirth, with the skin shedding, cadaver spasms, and potential for a corpse to maintain a strike reflex, could be worth a mention.
Thematically echoed in their inclusion in the Ascelephus, not to be confused with its owner who bears the same title. The sy
Having waited so long, I think it is apparent that Chrollo is absent today, so I’ll be running the thread instead. IIRC from last time, he concluded with his wish of towards the creation of a whole new way of being. And so on that note I have a few aspects of Snow Crash that I wanted to discuss. I can direct us back to them if I have to, but this story tree has enough branches that I think it might be best if I run through it once first as it is told before we start trying to pick it apart.
Obviously the most interesting aspect of this is the Asherah virus, but it is quite the oddity. This virus is spread via both biological and linguistic mediums. This makes it a little tricky to keep a handle on. Especially because it emerges in sumerian culture where a significant separation of religion, magic, medicine & aesthetics is impossible without falling victim to some serious distortions in perception*. P.211 So please try to keep in mind that the virus is our focus here as we go through it. I promise I am trying to both minimize time jumps and keep it as bare bones as possible. If im saying it, i think its important, okay?
First the sciencentric tone of the narrative is worth addressing. They acknowledge attempting to bring the more mystical elements down into a more scientific and “possible” way of being understood. Though Juanita calls the most attention to this with her defense of catholicism and the religious in general. Saying something akin to it having a reputation amongst the educated as being for the ignorant because what most experience in church is a surface level practice of pontification, rather than a discussion of the doctrine and beliefs.
And so the story begins…
Hiro protagonist, the protagonist resides in a hyper capitalized world while being employed as a pizza delivery boy for the mafia. Not all that strange, as this narrative has entered into an almost maximus state of governmental atrophy. Inducing a situation where every franchise operation has to either hire out a private security force or maintain their own, as is the case for all the most powerful NGOs. Hiro, who might describe himself as the kind of guy whose presence has the weight of a million bucks bagged in nickles is promptly liquidated from his position in the mafia's elite pizza delivery core after dumping his car in a pool cutting through a yard in an attempt to drop off the merchandise in 30 minutes or less. Forcing him back into the life of a freelance hacker, which as one of the main developers of the metaverse (which exists almost exclusively as a replacement for the previously flat internet), he is uniquely overqualified for.
It is in the metaverse that we encounter the first, or maybe the last, iteration of the Asherah virus. Here it manifests as a cyber drug that is only capable of frying a hacker’s brain, visually dosing them with symbolic representations of machine code resulting in their organics circuiting. This popper as VR info bomb, as well as its material equivalent, is distributed by the Reverend Wayne’s Pearly Gates Pentacostal Church franchise. Though the origins of the virus date about as far back as you can go. Emerging as a metavirus that either bubbles out of the sea of biological information in a complex system, or arrives from space via comet, raido wave etc. In any case, this metavirus is the stimulant to civilization by generating various behaviors to emerge and be carried out in repetition. These behaviors were coined by the sumerians as me, and are essentially a series of instructions for a human to carry out. Instructions are then distributed around whichever city by the local En, an individual who could be tenuously equated to a local priest King, from their location in the Ziggurat which lay at its center.
Numerous records exist of scribes extolling the merits of their city over others, justifying it with regards to the superior qualities of their me. As such, the water deity Enki is recounted as the greatest En for his creation of the best me. Enki was the Summerian god of wisdom, perhaps better understood as the lord of how to do things, or one who can create solutions to impossible problems P.256. Described as an expert in incantations, ‘’word rich’’ and master of all the right commands. In many creation myths, to name something is to create it, to cut if or separate same root as science and scythe it from the background and bring it into being. And so Enki was special because he could create new ‘’me’’. Today, it's rare that names or speech would be seen as anything magical, but saying a name not only evokes it by callings its conception to mind, it decidedly creates that conception in a way that can be communicatively be referred to. Though they are gesturing at something a little more suggestive read commanding. Name shubs which seems to differ from me only in that they must be created and me can spawn randomly* are fictions which make themselves real, me, which the book compares to programs being enacted by the metaverse. The metaverse in this sense is an enormous name shub constantly realizing itself across the network. Following this, myths from Sumeria are of a different nature than those of the greeks or egyptians. They lack in large what we would consider a narrative structure, and are more similar to a list of instructions as events. This is perhaps less odd in light of the fact that the Sumerian word for mind happens to be the same as their word for ear. To hear something was to think it, and to be given instructions was to enact them. Mythologised instructions for baking bread, laying bricks, sowing and reaping fields. All of which in conglomeration is compared to an operating system for their society.
For these reasons Hiro pegs Enki as one of the first sentient Human being, able to issue commands to be followed. A fella with a real knack for coining a phrase. Having no one to interact with causes Enki immense loneliness which motivates him to create the “name shub of Enki”. A self fulfilling fiction which bricks anything trying to run on Sumerian. This forces everyone to think, adapt, and change. A blossoming of thousands of languages and the beginning of languages diverging over space and time.
Synonymous with the biblical babble, the confusion of tongues. It’s a misconception that god knocked down the tower. Rather he confused their speech so they could not continue its construction. another of the many myths of a fall from paradise of which there are many. This one as the Nameshub of Enki reads
The thing thats jumping out at me immediately here is the discrepancy in how these orders come about and are overturned, or rather where one is worth up holding vs overturning. You failed to mention the code of hamarabi which is an attempt to a return to order that Enki helps his son Marduk develop to compensate for the lost me after he uses the name shub to eviscerate them. Theres also the second explanation, besides Enki’s loneliness, its mentioned that he uses the name shub to remove the bottle neck which is keeping people from advancing. The Asherah virus is identified with the creation of civilization as well as the state of sumerian stagnation which the name shub of enki frees everyone from. Interestingly, rather than stagnation, Asherah is blamed for the down fall of King Horsea, prompting the centralization and creation of a heavily controlled book based counter virus which resists the information decay of the previous oral tradition. Asherah is also found as an outbreak after Jesus death disrupts the order of the Pharisees and is put down with the establishment of order as the Catholic church. Similarly Rife uses a variation of the virus, his attempt to overthrow 3 ring binder culture; identified as being ripe for this because of the similaritety it has with sumerian order i.e. a series of instruction
Luck in life is defined by the suffering within it. The chance we have to surpass the limit and acquire relief however momentary. The Bravery to take the risk for pleasure and to ante up the necessary sacrifice for victory. All of which is to say that suffering breeds desire the force which births all action.
One of the greatest sufferings in life is our state of isolation. Divided from every other being through an infinite void of separation, a barrier of self as a requisite distinction. Defining the self from the void and the other is a requirement of individual existence, and so forms the desire to connect and communicate as an attempt toward relief of the situation. Where infinite suffering exists, infinite love is proposed as a solution. Though love itself has its origins in a violence sufficient to cross the void and break the barriers of self creating a successful communication. An intimate violation which annihilates what was and produces a change. A desire to destroy and be destroyed. A lust for a loss of self and thus a chance to be renewed. Violence as the positive term which brings us towards loss and death which is connection. At the core of life is death, the endstate which unites us all. Each moment we fall through a small one, what was falls away to become what is, which falls away to become what will be. Death is the center 0f being as becoming, change which creates the possibility of the observation of time, the flow of life.
In Christian theology there is understandably significant preoccupation with the origin of evil in our world. Legend has it there existed a state of divine oneness before the fall of man. A grand state of absolute static perfection. One of complete and imprisoning knowledge. Edgeless unending life in paradise and unity. An eternal and closed system abruptly vanquished when Eve ate the fruit of knowledge at the seduction of the serpent. The Resulting expulsion of Eve and adam from the garden into the material plane introduced death into their universe. Humanity was thereafter cursed by god to slave away on the earth from which they were spawned. A life of punishment for devouring the fruits of knowledge¹. Utility becomes the lord and master which society must appease before anything else may be done.
Rousseau offers us a conception of a Foreign Founder in his Social Contract. One who takes on the necessary taint of violating the social codes in order to found a new nation, a new order. Such a new nation benefits in two ways from the Foreign nature of the founder. The founder arriving from the outside means that they do not already have a stake in the struggle to shift power, opening them up to a perceived neutrality and a possibility of implementing blind justice. Further, their departure allows the new nation not to take responsibility for the sins required for its creation. As these sins must be disavowed for it to continue and be perceived as establishing legitimate laws without contradiction². An idea which is known well enough to be present in the ending of Akame Ga Kill. After Akame kills Esdeath³, the general of the disputed countries armed forces, the rebel commander saddles her with the blame for the catastrophes of the battles and casts her into exile. A sacrificial lamb to cultivate a respectable reputation for the newly formed rebel controlled government. (&_&)
These myths of scapegoating contrast oddly with the myth of Prometheus. Where such a myth places the active sin, the theft of fire from the gods, the divine spark of life and death itself, in the defiance of the divine as an honorable position, even as virtue itself. The act of transgression represented heroism. A sin which they chose to keep for themselves rather than casting those traits upon women as is the case in the semitic myth.
Interestingly the Serpent has the same value as messiah in literal Quaballic Gematria
MESSIAH (M40, Sh300, I10, CH8)=358
NOCHESCH [serpent] (N5, Ch8, Sh300)=358⁴
Though the history of the serpent itself is under some debate. In the most widely known version of the fall, either Satan or Lucifer is the tempter who entices Eve to partake of the fruit. While in some versions the Serpent was assigned as a protector to tend to the outer edge of the garden, whose entrance iin is a violation of the barrier and role that it was assigned to protect. Yet another places the Serpent's identity as Lilith the first wife of Adam who was banished from the garden as she refused to submit to lying under him.⁵ The Serpent's identity changes depending on the tale, but what remains consitent is that the serpent is always a transgressor, a temptor, and a bringer of knowledge, death, sexual awareness, and change. Perhaps we can then take this to mean that the serpent is the savior bringing these blessings to the stagnant garden ruled over by gods timeless order.
Chronologically then the first violation in the garden lies with Lilith who would dare dispute who will top between adam and herself. She is forced to use blasphemy to evade gods wrath and escape the garden. God is then forced into the creation of the submissive eve from adams rib. Mythologically displayed are not just the seeds of a dominant female sexuality, but the presence of a suppressed submissive male sexuality as well. An inherent transexual sexuality in both sexes then. A repression established when the serpent enters the garden and tempts eve with the fruit of knowledge. Eve is then used to bind all the good traits as of humanity in women as sin, as seduction and desire. Traping her in the role of devouree, but conversely trapping men in the role of devourer. A splitting and isolation of both drives which are initially present.
⁷(Karlsson 2019) Lucifer's own fall into the abyss brought the sepherit of sexuality, Yesod, into its active state.
⁸(Nietzsche 2003) 49
¹⁰ (Bataille 2004) 47
¹¹ Hermaphroditism implied by the splitting Kadamon’s attributes in Lilith and Adam (all positive attributes in Adam)
At the base of the tension of existence is its discontinuity, the fundamental isolation of the individual from the other. When I eat you stay hungry, when I work you do not tire, when you die I persist. We exist in a paradoxical state where we are not only compelled to seek our own preservation, but also to seek union in continuity. The primal suffering of experience is this isolation which defines each individual. However, this isolation is also the means by which everyone is connected, touching through the void, the nothingness, the common denominator of experience which is loss or death. As time passes I die and am born anew in the current moment as a continuous process that only ceases when I do. A process highlighted and reflected in the ambiguous death of an amoeba. Here the movement of splitting is easy enough to observe. And while the instant of its death is hard to place, it can not be denied. The first which gives birth to the two dissipates, but provides a means of continuity between them. Death the disjunctive conjunction, through which I too exist emerging from an infinitesimal series of gaps across time.¹ A phenomena generally imperceptible in society and one which cannot be fully appreciated with logical thought. As the experience of loss itself is something that happens in action rather than through deduction, an event lived through demonstration. Communication is an act like this. A violence which cuts through the exterior layers of self, necessarily erected to differentiate from the environment, to lay a small death inside another. An event intentioned and oriented to reach emotional continuity through a shared conception or idea. An action to which I am driven by a festering wound which opens upon my being demanding homage paid through activity. Itself facilitated through the empty positivity which loss embodies.
’”The Mystical state, elsewhere identified with power, is more properly seen as the desire to give”²
It is easy enough to split the search for continuity in 3³. Emotional, mystical, and physical; 3 means through which we seek release via infliction and affliction of violation giving rise to the annihilation of self. First Emotional continuity, sought through communication of ideas or concepts, conversation, art, all of that which falls into the category of wishing give something penetrating to be understood or give oneself to violation to understand. Second Mystical continuity; the pursuit of continuity in something beyond the physical self by giving yourself over to it through openness. This can be attempted through communion with the world itself, love of god(s) or the other worldly, enlightenment, ritual, sacrifice, prayer, meditation all of which peel away the discontinuous shell of self exposing a positive gap which fills with creation. Finally Physical continuity, sex violence & death; to touch, to be held, to strike to disappear. That which cant be refused arises through the sensibility of the body beyond sight and smell and vision. An attack of the Up close and personal.
Each carries risk and loss within it. Each event destroys us. Loss an inevitability, but one that may not give rise to that which we would chase again. An event deemed worse than not making an attempt towards relief. This risk exists in reception, interpretation and selection. What I try to pass across the void is subject to loss, and is therefore interpreted as something other than what was intended. There is necessarily some element of this, but this loss is both the risk and the creative pleasure of success. Success is a matter of resonance rather than bare replication, and can only ever occur though properly receptive sensibility.
What then are the conditions for successful communication? One which is carried by loss as a term but produces resonance upon reception? First Sufficient violence for a mutual laceration, and second that it arrives with a properly crafted sensibility. Violence is sufficient if it can cut through the layers of the self which were erected inorder to differentiate from the void, the self constructed for preservation must be destroyed, forced to think. Here the receptiveness or emotional nakedness of each individual plays a significant role. That is, the more we are willing to expose and disrobe ourselves, the more vulnerable we are willing to become, the greater the risk we are willing to take on, the higher our affirmation of it, the greater the possibility of success. Similarly of consequence; both positive and negative. Communication is a mutually desired connection in which separation is suspended solely for the person you choose. The force of violence necessary is reduced by this receptivity. To fail at this is to enter into a blunting of the senses, a willful stupidity and disinterestedness in reception. Even upon a sufficiently violent eruption the result is a lack of resonance in interpretation, and likely a failed selection. Here realized as a dwindling of desire for future connection.
Crafting of Sensibility then is the aspect that determines a successful reception, as sensibility is that in which the violence can be received. Its shape, the quality, influences its interpretation which determines its selection. Is this hurting the way I want it to?⁴A properly inflicted torment which I would submit myself to? Does it pluck the string of history to resonate with a desire I would love to lose myself inside? A boiling demand which splits my very being when it escapes into action?
Chance is the interaction of forces, the throw of the dice, their dance and play, illustrated in lust and combat, sex and death as the ends; love and hate. Each flows into the other incessantly, relentlessly, and necessarily. Ideas arise forcibly through sensation which is interpreted by the faculties. Decision as selection exists in the process of adjunction and condensation into ideas. We exist and think as a series process in iteration, each affecting the next.⁵
The beloved arises on the horizon of my sensibilities, and I am accosted by the violence of their existence. The way they move, the hang of their hair, fabrics in which they drape themselves, their scent, the texture of their skin, the look in their eyes, and passions that can be read through them. Innumerable impacts upon my being which can never be exhausted not fully represent them as the unspeakable element which attracts us Birthing and enhancing the agony
⁰Susan Sontag sits in a position of one of the more influential tastemakers of the last century. A collection of essays ‘’Against Interpretation’’ plays host to some of her most well known work. The first entry, bearing the same title, is geared towards the goal of among other things abolishing the distinction between form and content, thereby liberating the sensuous nature of art from the grasp of stifling influences which seek to tame it by splitting it in two. For Sontag art is entirely inseparable from our sensory experience of it. ‘’Real art has the capacity to make us nervous.’’¹ Inspired by this end a stand is taken against interpretation. Spearing it as ‘’...the revenge of the intellect upon art’’.²
In the essay Sontag finds art on the run. A flight from the utilitarian demands of justification placed upon it by Plato’s theory of mimesis into an era of modern and intentional obscurity, parody, and pop apparantism.³ ‘’From now until the end of consciousness we are stuck with the task of defending art’’.⁴ Dancing across examples from multiple pieces⁵ she criticizes the formulaic approach which digs through and designates elements with drab and recognizable movements, the theories of Marx and Freud; everything a metaphor for class struggle or a cock. All of it reinforcing familiar truths at the expense of actively distancing the audience from what it is they are encountering. Reducing a work to analysable containers of content places the witness in a safety blanket, domesticating art and protecting from what we might otherwise feel. In place of this hermeneutics she desires to erect an erotics. ‘’We must learn to see more, to hear more, to feel more.’’⁶
The artist's job then is to be a mixer of new sensations⁷, a summoner of phenomenology (the phenomenological?). Sensibilities of course extend beyond mere sensory input, there is a history to them which informs their manifestation, and thus, what is apprehendable through them.⁸ Art itself being part of forming, or informing, said sensibility which is, ofcourse, inspired by however many other pieces which it is perceived to be in orientation to.
The most interesting works of contemporary art are full of references to the history of the medium; so far as they comment on past art, they demand knowledge of at least the recent past. As Harold Rosenberg has pointed out, contemporary paintings are themselves acts of criticism as much as creation.⁹
A post Industrial Revolution trend identifies two cultures in opposition. As defined by Sontag: The fist a literary and artistic culture centered around cultivation, and the other a scientific culture dedicated to comprehension. A commonly commented on conflict which places art and artists, once lauded for their role as creators of unique objects that provide pleasure while conditioning conscience and sensibility, as boarding on uselessness in an automated society. A perception due in large part to the ease of mass reproduction of objects.¹⁰ Though Sontag sees the situation less as a conflict and more as the creation of a new culture, a new sensibility. One in which art has fallen away from its magical-religious origins, crossed through a period of perceived utility as depiction or commentary on secular reality and into a new era of modifying consciousness by creating and organising new sensibilities. Exemplified, for example, in that of speed. A sensation facilitated by means of the mass reproduction of art objects.¹¹ ‘’Such art is also notably apolitical and undidactic, or, rather infra-didactic.’’¹²
It does not mean the renunciation of standards… there are new standards … of beauty and style and taste. … defiantly pluralistic … dedicated both to an excruciating seriousness and fun and nostalgia. … very high-speed and hectic. From the vantage point of this new sensibility, the beauty of a machine or of the solution to a mathematical problem, of a painting by Jasper Johns, of a film by Jean-Luc Godard, and of the personalities and music of the Beatles is [are] equally accessible.¹³
A dissolving of the distinction between high and low cultures feared by those invested in art as a defense for an ever receding humanism. A fear born through then propagated by a general ignorance in literary culture and of those inhabiting the scientific with no interest in art. Matthew Arnold illustrates this when he advances the idea that the highest purpose of culture is creation of a critique of that culture through the vehicle of literature.¹⁴ Sontag proceeds alternatively, offering us Marshall McLuhans definition of human history. Which can summarily be presented as the extension of human technological capacity which works radical change on their surrounding environment, ways of thinking, feeling, and valuing. Going on to say that while the ”More timid people prefer to accept the … previous environment's values as the continuing reality of their time…” … Only in terms of … the old ethical order does the problem of ‘two cultures’ appear.¹⁵ Remarking that “... music, films, dance, architecture, painting, and sculpture….all… draw, profusely, naturally, and without embarrassment, upon science and technology-’’¹⁶ while only literature has stayed behind in a refusal to adapt adequately to the technologic age.
So if this dissolution of boundaries between scientific and the literary-artistic, high and low cultures, art and non art, form and content¹⁷ had taken hold and people have come around to the idea that ‘’works of art, psychological forms, and social forms all reflect each other.’’¹⁸ On what grounds, in her 1996 afterword, is Sontag to find this cultural product botched?
Interpretation itself must be evaluated, within a historical view of human consciousness.⁵²
Of course, I don’t mean interpretation in the broadest sense in which Nietzche (rightly) says, “There are no facts, only interpretation.”⁵³ What Sontag truly desires is not the banishment of interpretation, but a method of selection of interpretations that are sufficiently reactive. Ones that force thought, rather than ones that stifle and reinforce the moral order. She correctly diagnoses the split between form and content, but misunderstands her role as critic; seeing it as something other than destroyer. She lacks a proper commitment to the corruption and decay which births all creation. Lamenting, “The interpreter, without actually erasing or rewriting the text, is altering it. But he can't admit to doing this’’⁵⁴ An act in which she abandons her weapon and is forced into a position of backtracking throughout the essay. She lacks a sufficient affinity with the will to falsity, the attempt to realize the conceivable in the possible, a realization of a new sensibility. She hopes that the re-publication will inspire new readers to ‘’...contribute to the quixotic task of shoring up the values out of which these essays and reviews were written.”⁵⁵ In her search for “...the luminousness of the thing in itself…’’⁵⁶ she becomes Socrates in his search for the good. A man at whose feet Nietzsche lays the blame of both the spirit of christianity as well as the death of tragedy. The Apology recounts the trial of Socrates for the crime of corrupting the youth. Charged with making the weaker argument the stronger he proceeds by trying to expose contradictions in the arguments of his accusers. The oracle says that he is the wisest, and so, in the service of the god he pesters fellow citizens to follow the good; utilizing his method of inquiry and declaring it is the highest of blessings for Athens. Finding logically that he could not corrupt the youth, for then he would risk harming himself. Upon his conviction he is offered an attempt to escape from prison, to return to the pursuit of what he loves most, of giving the blessings he believes he is destined to bestow. Unwilling to commit, he instead chooses to die at the hands of the state rather than be dishonorable. Corrupting the youth, of course, is exactly what Socrates was doing by agitating others and forcing them to think, but he cannot get beyond contradiction because for him truth is something universal, something to be uncovered rather than something which is generated or changing. And while he knows that his actions are those necessary for the health of Athens, the constant over turning of what was, he loses his appetite at the idea of being a criminal and drifts calmly into death, rather than going to the limit of what he can do.
To burn is one thing, to grovel and beg to burn is quite another.⁵⁷
A nation that is already old and corrupt, that bravely shakes off the yoke of its monarchical government so as to adopt a republican one instead, can only survive by committing countless criminal acts; this is because it already exists in a state of crime, and if it wished to pass from a state of crime to virtue, that is from a violent state to a peaceful one, it would fall into a state of inertia the outcome of which would be its imminent and certain ruin.⁵⁸ – Sade
Deleuze offers us a different interpretation of the passage in which Sontag’s reading divides interpretation in two Nietzche opposes the free spirit to the free thinker, the spirit of interpretation itself which judges from the standpoint of origins and quality: “There are no facts, nothing but interpretations”⁵⁹ The free spirit risks while the free thinker speculates. The free thinker exists in a limited space seeking to maintain or to acquire what is, but the free spirit throws dice knowing that they must be thrown again, that being is becoming, and knowing that nothing fully to their expectation can return; what returns must be different and it must be changing. This leaves them open to possibility, to affirmation of what differs, to an adaptable sensibility beyond that of utility.
We must find for each thing in turn the special means by which it is affirmed, by which it ceases to be negative⁶⁰
So no, hierarchy then? Certainly there’s a hierarchy.⁶¹