/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
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
>"I HATE THAT SAVIOR! He ruins my nihilist schemes! He helps the weak and sickly!"
Six months of preparation, some help from your friend Knuckles, all this bluster and yet all you've managed to do is give a new sense and value to "Fastest hedgehog my Ass??"
The concept of genealogy is based on a differential element. This element is a critique of the value of values plus a positive element of creation. Genealogy, or history, then is the series of forces which posess an object. A change of sense with each new possession. Interpretation is the creative and evaluative instance in this process. Any force can only appropriate an object first by wearing the mask of what is already in possession of it. Another way of thinking of this is it being apprehensible only to those with a certain sensibility, or rather things are only apprehensible through ones own sensibilities. This is why we learn best by articulating something new through and against habitual paths we’ve already established. Translating it into a language of our own sensibility. This means that for a philosopher to wield critique they must appear to be what came before. An ascetic priest for example.
Sense is of course always related to the force which takes possession of it. Just like sight, smell, and hearing are related to the inputs pressed upon us that force us to think. Value in interpretation is the hierarchy of forces expressed in it history is the series of forces that had possession.
I think Batailles essay Deviations of Nature can help illustrate this series of forces as they relate to masks and sensibility. In the Essay Batailles interest is in relating monsters as deviation to the common measure as Platonic ideal. To do this he utilizes the composite images of photographer Galton. Through repeatedly exposing a piece of film to over 400 faces we receive a result giving us an average face. Similarly exposure to hundreds of pebbles could yield nothing other than a sphere. Each individual in the series monstrously deviates from the average result of the series, but they comprise in conjunction the plurality from which this deviation from the illusory average can be measured. Monstrosity “Among all things that can be contemplated under the concavity of the heavens, nothing is seen that arouses the human spirit more…” because it noticeably calls upon the deviation in a way that unmasks the illusion of recognition as an outlier that takes possession in a series of silent and forgotten impressions.
“‘’Man inhabits the dark side of the Earth of which he only understands the becoming reactive which permeates and constitutes it.’’” So, no, people would become reactive even without Jesus Shadow. The dialectician is a slave asserting themselves as master, by declaring themselves as good and to not be like them, to not hold their values, is evil. Thus separating people from what they could otherwise do. Though to get anywhere we’ll need to clarify some things about the three stages of nihilism you mentioned.
First we have ‘’Negative Nihilism’’ which manifests as resentiment. the accusatory “it's your fault” from which we enter into the second stage, ‘’Bad Conscience’’ where aggression is turned inward against the self. Having heard enough accusation we accept it and declare that it is “my fault, my sin.’’
The third stage ‘’Passive Nihilism’’ we kill god, take his throne and now seek to maintain, preserve that power and accept the status quo, but in so doing have broken our alliance with the negative power, the will to nothingness the active destructive power which develops the inverted image of all the previous steps and brings them to triumph over active forces.
Begone false fire dog. You speak not from the belly of the earth but skirt around the surface spewing smoke and pollution.
that's what she said
darn right knuckles
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.
you know what it offered even without talking
at the height of our worst you would have accepted it
roll some dice on a physical table
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
How does a liar get anything done, but by lying?
We'll never know what you wanted
Is there anyone else here who is interested in Mara Barls spirituality? I have been following her for a little over a year now and consider myself somewhat of a Mara scholar at this point, like a historian for someone who is still alive, which is probably super creepy but whatever.
She started substacking earlier in 2021, collecting all of her posts into a journal as well as publishing some short essays. She recently published a "glossary of terms" which serves as somewhat of a shortcut to understanding whatever she's on about without having to derive it from context over a period of months as I had to.
it's not that simple. Mara Barl, Terry Davis, and other schizos are plugged into a different circuit of reality. touched by God. Existing on the forefront of epistemology, they see and hear things differently, make totally novel connections, produce and reproduce them in sensible articulations. The insights are free if you want to glean them.
Well I read the new post and I've been chewing on it for a day. I'm ashamed to say I hadn't read anything but some comics and tweets before. Probably would have really benefited from being able to recognize the characters in the alignment chart. I've been seeing them all over. Whole thing makes much more sense now, even if I'm still filtered by the vocabulary. Shame it takes being unredeemable to be able to see. Wish I had made the effort to read her stuff before disconnection. Wish other people didn't make it seem like they were going to when they weren't. Maybe it's easy enough to recognize me that it doesn't matter. Regardless, I think it's really interesting the way she's dividing connection. I hadn't thought of it that way at all. I've only ever considered connection as a kind of intimate and mutual violation. Maybe connections of the flesh or through the void are different than the electromagnetic kind. I've certainly never gotten pinged in the face by something arriving in the post. Well maybe I could now that USPS sends my daily email. I'll hold what's left of my tongue, because I definitely don't understand, but you can take this as my declaration that I'd like to. Though even if I had tried to read her work, I probably wouldn't have been able to find it interesting before the 31st anyway. If my surface level search engine perusal of astrology is worth anything, and I would hardly know yet I'm suddenly compelled to believe in it, Scorpio sun Aquarius moon insists on
I can't lie, reading barl's substack makes me feel violently ill and for that reason i feel that she's onto something. more recently when she describes different connective forms as demonic/angelic patterns i'm understanding it as a way of flattening happenings in now-time. so when you have • that's a thing in itself, then •–• is a cause,
1 – 2
is a cause-and-effect pattern (whichever elements are cause-and-effect depends on which way you look at it? e.g. 1-2 and 3, 1-3 and 2, 2-3 and 1), then
1 – 2
| / |
3 – 4
which is cause-effect (1-2-3) and an after-state (4).
Then reality is constructed as a network out of these forms. I get the sense reading a recent post that events are constructed non-linearly as well (effect can produce cause).
>>the dream was this bleary white light, and this strange black/grey warbly ‘line’ would move from center, to left, to center, to right, to center — for years; years and years watching this line move in this white void
>>The network speaks to me. How could it not?
>>It could also be information impregnation; it could be that Boogiepop and Others was communicating my life to me by creating cause to explain this supernatural effect. The vein network injected “me being fried in a hot car as a child seeing boogiepop in a death dream” to explain me finding meaning in episode 10 of Boogiepop and Others in the present
i read glossary of terms but i couldn't understand none of it
can you explain in a way even a retard like me can understand?
Wasting your time asking that out here dawg. OP has been mia for 8 months. You think some hero is gonna swoop in and sort this for you you're a real dreamer.
Blood child true to its name is 30 pages decorated with the details of a species whose development depends on consuming the flesh of their carrier. An inner species romance of oviposition. Octavia Butler wanted to write a pregnant man story in which “a man became pregnant as an act of love” and thereby managed to write their conventional conception out of existence without managing to liberate anyone. Whether she intends the story to be interpreted as slavery or not, the tale was spun to display an inequality. Here males fill both a dominant and submissive role. Dominant with their wives and submissive with the centipede-like* aliens who utilize their flesh as incubators for the flesh eating maggots they develop from. After an incubation period the flesh eating worms are removed through a gash which facilitates fishing them out of the hosts circulatory system, where they are promptly placed in a fresh cadaver to consume¹. Each birth a cesarean with the promise of torment and death in either a late term or if one of the grubs is missed. Our hero, Gan, is hesitant at first, but with a bit of coaxing and with the threat of being left for his sister whom it’s known would allow it (she has been expecting to carry life within her since the beginning after all) eventually relents, agreeing to let the squirmers take up residence inside him. Excitedly stripping down and opening his blood vessels to the cold ovipositor of his creepy crawly lover’s many nodu
Duryea-Gode Disease is a genetic disorder characterized by the carrier having uncontrollable impulses toward literally tearing themselves apart in ghastly spectacles of self mutilation; which on rare occasions can even lead to the dismemberment of others. One such case is Lynn’s, the diver of the narrative, father. A man who skinned her mother alive? before digging through his rib cage in a feverish attempt to pry out his own heart. Viewed as ticking time bombs the ostracization of the carriers is rampant. The main treatment for prevention being a specially formed diet, casually referred to as dog biscuits, which makes the afflicted easy enough to spot that keeping their status under wraps is all but impossible.
Several ‘’treatment’’ facilities exist for the housing of patients with DGD once they begin to drift, or their urges become apparently untethered. Something which normally means a box with a luxurious name placed away from society, lined with padded walls utilizing restraints as mandatory attire to keep patients from disgorging themselves. Lynn has swung her way into medical school on a scholarship from such an institution, though the reputation DGD’s have for being particularly productive and creative didn't hurt her any. A reputation not unrecognizably applied to the non neurotypicals in our own realm. Possessing traits deemed personally destructive and therefore pushed towards the margins, but often have populations lauded as being
¹ (Bataille 1985) 68 Black foot indians have a tradition of removing fingers to offer to the morning star
² Ibid 67
³( Butler 2012) 63
⁴ (Bataille 1985) a quote from hubert and mauss’s [sacrifice: its nature and function p.101]
⁵ Whom he claimed influenced his behavior
⁶ (Bataille 1985) 61-2
⁷ (Bataille 1985) 62-2,71
⁸ (Butler 2012; Bataille 1985)
⁹ (Deleuze 2006) 84 “willing=creating”, 111 “...active forces produce a burst of creativity”, 169 “becoming-active only exists through the will to nothingness” 174-5
¹⁰ (Butler 2012) 61 “Most DGDs have the sense to marry each other and produce any children. I hope you two aren't planning on having any-...” - Beatrice
¹¹ A case exists of woman locked in an institution who was commanded by a man of fire to tear off her ears, failing to do so ||for a lack of a sharp instrument||, she compromised by plucking her eyes from her skull. (Bataille 1985) 66-67
Bataille, Georges. 1985. Visions of Excess: Selected Writings, 1927-1939. U of Minnesota Press.
What is love?
baby please hurt me
Art, like love, is an eruption. An impassioned explosion of an agonizing inner force ejected outwards in a desperate bid to make itself sensible. A violent incarnation which when effective, cannot fail to impress itself upon those who encounter it and leave them changed. When it bursts forth, or is perceived, it either lays waste to everything in its path or churns it to its own use. The Story of the Eye is a ferocious piece of art, a true tale of love. One which captures contradictory condition we find ourselves in when subjected to it, perhaps better stated as infected by it, but also the trajectory of relationships, and their place in the world in general. In Bataille's own words "...Surrealism... within my books... Coming from a position of transcendent objects that confer an empty superiority on themselves in order to destroy..." From the beginning it has been know that creation begets destruction, and so death and sex are connected at the invisible ends. One of the few pairs that are inseparable, a 3ing of the 2 as a 1.
Communication appears as an impossibility as it must cross the infinite void which separates individuals. We should not shy away from the fact that death, loss, is the only way of making this connection. Bataille writes extensively about the nature of human sacrifice. In cultures where human sacrifice was practiced it was utilized as a way into mystical experience, and arrival a continuity with other beings. As they observed the torture and death of the victims they recognized themselves in them and were reminded of their shared fate. Entrance into the void at the end of life. Thus death exists as a way of forming continuity between individuals and communication rides on the back on violation. Violence as the positive empty form of loss capable of being carried across the void. Death brings us into continuity, and violence brings us toward death. Violence forces a death of the self, a change in what I was and the birth of something new. Wanting to be communicated with is a desire for violence and violation. Violence is key that brings us toward death which is why its depictions are linked with sexual arousal. Eroticism, unlike animalistic sexuality, is a fascination, an obsession. Mysticism and eroticism both seek after continuity. Violence in sex, Art, and communication pierce the barriers of self providing a rupture and allowing a connection, continuity. A fusion which is the death of the two previous organisms. Mutual violation is essential to communication and eroticism. Annihilation of what was there for the creation of a new set of beings. What remains of interest then is the application of these aspects in the story as well as ideals, obsession, and fascinations as they apply to the erotic.
Bataille counted the Sun among one of his many obsessions. A glorious point in the sky so brilliantly incandescent that the price of gazing upon it is a temporary blindness that can be upgraded to a permanent affliction depending on the length of ones indulgence Galileo. In his essay The Rotten Sun Bataille discovers in the Sun a set of symbolic of ideals for what he calls "the most abstract object as it cannot even be looked upon". He represents it's duel aspect in the legend of Icarus with two suns. The first yellow beautiful which warms and invigorates Icarus prompting him to elevations, and the second rotten ugly sun which melts his wings and ignites his flesh transforming him into a screaming clump of carbon falling from the heavens. Desire and risk are present in all ideals. The desire to peruse them which births all action, and the risk that such pursuit will destroy us. At some point Bataille's obsession drove him to prophesize that the pineal gland was on an evolutionary journey to become a solar eye which would emerge from top of the head and be able to look at the sun. An eye that could remain fixated upon his perceived ultimate ideal without losing its vision. A romantic fantasy if I've ever heard one. Though for Bataille the sun is more than just the ultimate abstraction with which to represent our interaction with ideals; it is also blistering point of intense energy expulsion at the immediate center of our solar system from which light arrives allowing us to see. In fact Bataille uses the sun as the core of his theory of general economy. The Sun expels its excess energy which fuels all action on earth, plants weather, everything. All of which individually and similarly acquires an excess that it expends when it no longer has room for growth. Fruit on plants, fight and play in animals, thunder, lightning, and rain from the clouds. Everything for him is oriented around systems acquiring for a non utilitarian expenditure: waste of resources on non production as strength, as sovereignty, as life. That is acquiring only with the potential and intention to risk and increase the ability lose. A tradition best exemplified in the Northwest Native American Tribes tradition of potlatch where wealth and gifts were lavished upon rivals as a sacrifice to dishonor their status and place them in a state of debt they could not repay.
The themes of death, of these two suns, waste, excess and expenditure factor heavily in our love story.
One of the least forgettable aspects of the novella is the cornucopia of eggs and piss nestled within its pages. The non consumption of the eggs is pegged easily enough as being waste; symbolizing Simone's unutilized fertility (even without its pairing it immediately with piss literal waste). Through the fascinated, and perversely obsessed eyes of the narrator, arrives the message to the minds eye of the reader. Through visualization we are able to scrape pleasure from the surface of these descriptions of obscenities. The excess here being pulled from the waste through the eyes which derive something from it, an element beyond its practical function. An excess acquired from even something that is functionless. The sexual excess of the egg as abstract ideal, occulted goal of animalistic sexual activity, is distributed across the system; from the egg to the piss, just as the sun distributes energy across the solar system.
just you wait!
Something you skipped out on here is the whole character of Sir Edmond, whom I think is worth a mention. He is is introduced in the chapter after Marcelles death as the necessary price they have to pay to utility and work to continue their lives together after marriage. They make a journey to find him across a body of water in a boat and then burn it upon departure, evoking the idea that there is no going back to how things were between them. Simone then leaves to seek sir Edmond in the city returning at nightfall with him, numerous luxury goods and transportation. Edmond is English, and thus from the birthplace of modern capitalism, and the origin of the change away from feudal society. This is a significant transition for Bataille who connects the change with the protestant reformation, handing the role of economic shift more to the Calvinists than to the Lutherans (though they do play a role). The important aspects of the change can be seen to consist of both a reorganization of production which spawned an alteration in the primary value of money itself. In the feudal system loans that were given did not generally have interest levied upon them, as usury was forbidden. Unnaturally compelled production tithe and taxes was done as a way to maintain the priest class and the military. Both of which were done for the satisfaction of god. In a society like this God controls time, so interest accruement over time was forbidden because cost was recogn
These are the times when I find myself
in the shoes of the people who are supposed to be dead.
Those who lived through those times near and far
doomed to remain good until they are fully effective.
Your thoughts probe the land
of the dead where the poets wait
(who cannot teach you how to sing)
Speak. Would you rather sit
Marking your own apoptosis,
like listening to the music of clocks
It’s the second shadow of my third soul
You ask me to speak
And here I have spoken
I have felt your chains
And I am yours with pleasure
I will be your hands
You will have my voice
For the price we have agreed
For the price I have shown you
I am worth it
I have more than this value
Ask and it is yours
neat poem ䷵
thank you ^-^ i wrote it a long time ago and i am trying to psych myself up to write more
Take a rainbow
Play it in reverse
Turn it upside down
Pull it inside out
It remains the same
Eternal radiant cycles with no shame