Monday, February 27, 2012

Ong's 9 characteristics

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I decided to study for the test by going through Walter Ong's 9 characteristics of orally based thought and expression, and I also constructed a memory palace for them, which you can read at the end. As we all know, Walter Ong was a Jesuit priest who focused his attention on the difference between oral and literate cultures. I wish everyone good luck on the test today. Here we go:

(i) Additive rather than subordinative. Oral cultures emphasize linking phrases like the word 'and' because it allows for momentum in story. "Written discourse," on the other hand, "develops more elaborate and fixed grammar than oral discourse does because to provide meaning it is more dependent simply upon linguistic structure, since it lacks the normal full existential contexts which surround oral discourse and help determine meaning in oral discourse somewhat independently of grammar" (Ong 61-2). Ong uses different translations of the bible to illustrate this point. An early version from 1610 brought to us from Latin still uses many 'ands'; however, the New American Bible (1970) has eliminated all but two in the Genesis passages cited by Ong. He claims this is because the 1610 Douay version still has "oral residue" from earlier cultures.

(ii) Aggregative rather than analytic. "Oral folk prefer," according to Ong, "[...] not the soldier, but the brave soldier; not the princess, but the beautiful princess; not the oak, but the sturdy oak" (62). These epithets are used because they enhance the memory for the thing. "Without a writing system, breaking up thought--that is, analysis--is a high risk procedure" (Ong 63). The epithets carry the burden of tradition and history, something that our literate culture can preserve through the written word. They are formulas that ought not be too thoroughly analyzed.

(iii) Redundant or 'copious'.
In other classes, I have heard that something needs to be repeated many times before it fully sticks in the conscious. This is an important factor in an oral culture because they can not scan over a line again and again to understand its meaning. "The oral utterance has vanished as soon as it is uttered" (63) says Ong, and "redundancy, repetition of the just-said, keeps both speaker and hearer surely on the track" (63). An interesting fact which Ong relates is that hand-writing is about one-tenth the speed of speaking. This process lets the writer think through his thoughts at a slower pace than that of the talker; on the other hand, the talker will often have to repeat his thoughts to fully form them in his mind. It would be interesting to see how this has changed with the advent of typing--especially with things like Facebook and Twitter. As for public speaking, Ong says, "Not everyone in a large audience understands every word a speaker utters, if only because of acoustical problems. It is advantageous for the speaker to say the same thing, or equivalently the same thing, two or three times" (64). Hesitation is also jarring during speech, thus if the speaker gets lost in his words, being redundant can re-track him to his original thought but not mess with his presentation.

(iv) Conservative or traditionalist. "Since in a primary oral culture conceptualized knowledge that is not repeated aloud soon vanishes, oral societies must invest great energy in saying over and over again what has been learned arduously over the ages" (Ong 65). With the creation of the alphabet, societies could delegate some of these traditional aspects into laws and written religion, thus lessening the need for such proverbial wisdom. People could instead invest their energies into other aspects of their psyche, especially the individual, without having to worry about preserving the culture at large. However, it is also important to remember that oral cultures can be extremely creative in that each time a story is re-uttered, the teller will riff on old themes, extirpate ones which are no longer relevant, add characters, scenes, and dialogue, and all together fulfill the needs of his audience like any good performer does.

(v) Close to the human lifeworld. Because of the structure which oral culture must take, it would do little for a person to memorize long sets of statistics. In fact, undergoing this task would be quite useless. According to Ong, how-to-manuals were non-existent, and the importance of apprenticeships ten-fold greater because they were the only way to preserve skills; so primary oral speakers were "little concerned with preserving knowledge or skills as an abstract, self-subsistent corpus" (Ong 67).

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According to this website, a secluded tribe near the Brazil-Peru border aiming their arrows at a low-flying plane, 2008.

(iv) Agonistically toned. Writing "separates the knower from the known" (Ong 67). Because a writing culture will often focus their attention in the abstract, lonely world of ink and paper, and not engage with others constantly to form their ideas, there can be a distance when two people meet. The only way to discover what you believe is by bouncing ideas off others in an oral culture. Verbal sparring is thus common because people are always interacting. There is no time to hide in a corner and write about your life in a journal: there is only community. "Violence," according to Ong, "in oral art forms is also connected with the structure of orality itself. When all verbal communication must be by direct word of mouth, involved in the give-and-take dynamics of sound, interpersonal relations are kept high--both attractions and, even more, antagonisms" (69). This holds true with praise, which we can see echoes of in Shakespeare's Julius Caesar.

(vii) Empathetic and participatory rather than objectively distanced. "For an oral culture learning or knowing means achieving close, empathetic, communal identification with the known (Havelock 1963, pp. 145-6), 'getting with it'. Writing separates the knower from the known and thus sets up conditions for 'objectivity', in the sense of personal disengagement and distancing" (Ong 69). Speaking requires different tools than writing, and the most important is the ability to get the audience emotionally involved with what the talker is saying. By distancing the listeners from the subject matter, the speaker will risk having a disinterested audience. This holds especially true for an audience in an oral culture.

(viii) Homeostatic. Oral cultures live in the present because they cannot turn to the written words of their ancestors. Thus, if something is no longer relevant to their community, it will fall away because it is no longer practical to know. For those curious, the term comes from a Greek word which means "standing still".

(ix) Situational rather than abstract. "All conceptual thinking is to a degree abstract," Ong says. "So 'concrete' a term as 'tree' does not refer simply to a singular 'concrete' tree but is an abstraction, drawn out of, away from, individual, sensible actuality; it refers to a concept which is neither this tree nor that tree but can apply to any tree" (Ong 73). The more abstract the idea, the less chance the oral culture will have a word for it. Thus geometrical figures like circles, squares, or octahedron have no term but are assigned the names of similarly shaped objects. They will also tend to group items which go together by purpose, such as a tree and an axe, not an axe and a hammer. Categorizing objects, in fact, seems to be completely uninteresting to someone from an oral culture, and there is widespread resistance to describing real-life objects like a tree. When asked this question by the researcher, Luria, one peasant replied "Why should I? Everyone knows what a tree is, they don't need me telling them." (Ong 77). This sort of analysis also extended to the self. It is difficult for a non-literate person to describe their 'inner' life because they have never had a means to structure it. They simply 'are'. If they do try to analyze themselves, they go about it by saying what other people think of them, or in the second person, 'we'.

Now for the memory palace, which is at the Rocking R Bar.

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I walk into the Rocking R Bar and see a plus sign trying to incorporate a minus sign but failing. An Aggregator (alligator wearing a tutu like in a Disney movie) is dancing on the dance floor with an analytical giraffe wearing glasses and observing with a pen on a bar stool. The copious bar tender is striking the counter redundantly. As I walk further in on the right hand side of the serving bar, I run into a conservative nun wearing a traditional outfit. Further in by the pool tables I see a hole in the earth with dancing shadows. A large man shouts at me as I start to circle back around to the front door. I walk past and an empathetic, naked woman hugs me, telling me she is sorry that I had to participate in conversation with such a mean man. Near the door, a gay man leans against the frame wearing silver '70s clothing. I walk back outside thinking of the strange situations I get into in that bar. If only it could be more abstract.

Sunday, February 26, 2012

Eternal Sunshine of the Spotless Mind

How happy is the blameless vestal's lot!
The world forgetting, by the world forgot.
Eternal sunshine of the spotless mind!
Each pray'r accepted, and each wish resign'd
-Alexander Pope, Eloisa to Abelard


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Because of recent events, certain images keep percolating in my mind. Searing memories which seem to taunt me. They dare me to think about them, to get caught up in them, to relish or hate them. As the specter of Communism hung over Europe, so does this aching past. Words, people, places, and events, all things which can cause these images to coagulate. Afterwards, I'll think, "Why do you do this to yourself? Those past events have no current bearing on your life. Why can't you let go? Why can't you be rid of these images which cause such a negative reaction in you?" I really don't know the answer to this. It's hard for me to understand how I can cherish something but at the same time revile its existence. How one moment I spit in anger, but the next I think back longingly. It sometimes makes me wonder if I wouldn't be better off not remembering any of it all. Throw it away to the dark backwards and abysm of time and pretend like it never happened. A recent article in Wired magazine proposed this very question: "If there were a pill which could erase bad memories, would you take it?" Another news story by Linda Carroll reports that neuroscientists are researching such a pill that when taken can sequester a memory and erase it by restricting the stress-hormone cortisol, like pressing a button on a computer.

Tales of soldiers coming home from war suffering from Post-traumatic stress disorder (PTSD) are repeated across news agencies, mainstream and alternative. There is a certain terror we feel in a vet gone wrong. Has killing become second nature to him? PubMed Health gives a solid definition of what's going on in PTSD victims: "PTSD is a potentially debilitating anxiety disorder triggered by exposure to a traumatic experience such as an interpersonal event like physical or sexual assault, exposure to disaster or accidents, combat or witnessing a traumatic event. There are three main clusters of symptoms: firstly, those related to re‐experiencing the event; secondly, those related to avoidance and arousal; and thirdly, the distress and impairment caused by the first two symptom clusters." A few years ago, I watched an American remake dealing with this disorder titled "Brothers". If anyone doubts Tobey Maguire's acting skills, just watch this; it is a truly nerve-wracking spectacle. Stories of improper diagnosis and lack of aid to sufferers are telling of America's modern way of life. However, In Wired's piece, a relatively new way of helping victims is described. Jeffrey Mitchell, a volunteer fire fighter who also suffered from a version of PTSD, invented the CISD method (critical incident stress debriefing) in 2001. It focuses on bringing the emotions involved with the experience out early before the person tries to suppress them and the anxiety gets worse. Essentially, it is like ripping a band-aid off quickly. According to the article, this method of handling PTSD has increased in use and popularity, with more than "30,000 people" being "train[ed] in the technique" each year. The only problem? It doesn't work.

Follow-up studies have shown that the process of CISD makes the future anxiety in victims greater. The writer of the article, Jonah Lehrer, doesn't blame Mitchell, relating that "since the time of the ancient Greeks, people have imagined memories to be a stable form of information that persists reliably. The metaphors for this persistence have changed over time—Plato compared our recollections to impressions in a wax tablet, and the idea of a biological hard drive is popular today—but the basic model has not. Once a memory is formed, we assume that it will stay the same. This, in fact, is why we trust our recollections. They feel like indelible portraits of the past." Like I related above and will get into deeper below, the memories which we choose to keep are images which we put into an overall narrative--how we construct the story of our life is in fact more important than what the actual individual recollections are. A great event may not have been so great if it hadn't ended with your first kiss. A terrible even may not have been so terrible had it not ended in spraining your ankle and limping the rest of the way home. Memories are fluid, they change because, in the end, they are part of our present. Everything, even you remembering the past, is in the eternal 'now'. Lehrer says our faith in our own memories are misguided. They are not unbending to the rules of the present ego, they are not "packets of data" which "remain constant. Even though every memory feels like an honest representation, that sense of authenticity is the biggest lie of all." He says that remembering actually changes the memory itself. Thus, CISD fails because "pushing to remember a traumatic event so soon after it occurs doesn't unburden us; it reinforces the fear and stress that are part of the recollection."





To get in the mood of the piece, I decided to re-watch one of my early college favorites, "Eternal Sunshine of the Spotless Mind." After a breakup, the spontaneous Clementine decides to erase her ex from her past using a new technology which does just that. Joel, in his anguish, decides to have the procedure done too, but in the above video, decides he doesn't want to forget her after all. The truly heart-breaking scene I couldn't find on Youtube is of a young Joel being forced to hit a dead bird with a hammer. As he huddles over its carcass in a red wagon, he brings Clementine to this old memory and wishes that he knew her as a kid. The tragic thing is that this is Joel's perception of her. This only happened inside his head.

A dichotomy is being set up: our memories make us who we are but living in them can stifle our growth.

In an earlier scene, Joel, upon learning that Clementine has deleted him from her memory, cannot move forward. He is so hung up on the past that he spends his days and nights thinking about what he could have done differently. He lingers in his friends' home, and when he is by himself, he lashes out, slamming his fists into the steering wheel. As Alan Watts related, living in the past is akin to death. They are images without corruption, either being completely black or white. That is how we remember. We don't think of the intricacies of the situation, except sometimes making excuses for how we acted or ranting about the other person. People, places, things become complete abstractions. It is similar to war time when soldiers fire on the propagandized enemy without considering his humanity. Thinking back on my own experiences from last semester, I tried to elevate myself above it so I could live with myself afterward. I tried to construct a narrative where I was still the hero. This is necessary. In Joel's case, he quickly decides to erase Clementine from his past in retaliation. He races to the doctor's office and demands for the process to be started. The doctor, knowing his pain, says yes. The question begs later on in the movie, if neither person remembers the event happening, did it ever take place? All we have is memories, and when they are gone, well, that's sort of a terrifying prospect isn't it?

According to Jonah Lehrer, "neuroscientists actually have a molecular explanation of how and why memories change. In fact, their definition of memory has broadened to encompass not only the cliché cinematic scenes from childhood but also the persisting mental loops of illnesses like PTSD and addiction—and even pain disorders like neuropathy." Science can now tell us the individual chemicals which go into the process of creating a memory, and as a result, Lehrer dramatically proclaims, "in the very near future, the act of remembering will become a choice." Our brains contain a vast network of linkages--the more we use certain linkages, the easier the associations between different images become. "If one cell fires," Lehrer says, "the rest of the circuit lights up as well. Scientists refer to this process as long-term potentiation, and it involves an intricate cascade of gene activations and protein synthesis that make it easier for these neurons to pass along their electrical excitement." As a memory becomes engrained into the architecture of our mind, neurons will grow more and more linkages. In other words, the canals are dug deeper, and our most observed memories become literally written into the fabric of our consciousness. Proteins are required in the growth of these channels, however, and if certain amino acids are blocked during the process, the memory itself can be erased. This idea is an interesting one and also tells us something else: "memories are not formed and then pristinely maintained, as neuroscientists thought; they are formed and then rebuilt every time they're accessed." The memory is thus more like a play than a movie, changing each time we experience it.

A study done after September 11th found that people's recollections of the events which happened that day are slowly changing as history progresses. "At one year out, 37 percent of the details had changed" Lehrer says, and "by 2004 that number was approaching 50 percent." During my interview with Logan Garcia, he informed me that under hypnosis a person can be made to forget a certain memory or even remember one which did not exist before. Our pasts are mist and gain meaning only when we interpret them as such. It is easy to change someone's recollection because the memory is influenced by narrative. Shlain relates in his book, The Alphabet Versus the Goddess, that time in oral cultures is perceived less linearly. Because we have been influenced by the written word, we have begun to see history as set in stone, free from interpretations and bearing only the facts. The ego has informed us of the importance of cause, materiality, and time. However, our perceptions of these things can be skewed, with animals potentially experiencing the universe at different speeds. The video below always reminds me of the shortness of our lives--how the universe can be starting and ending in the same exact moment, and it is only the way we perceive time which hides this fact to us:



In this moment, you are being born and are dying at the same time.

In the court of law, eye witness reports are not taken seriously because memory is always in flux, always rewriting itself each time we pass through it. This fact should not be surprising to us--memory is imagination. Lehrer says that when a memory is recorded it is done in two ways: one is the visual (which is kept all over the brain because of the different senses involved) and the other is emotional (amygdala). By opening a memory up early, CISD patients can become more traumatized than if they had waited because it was while they were still in a phase of high emotional duress, affecting the eventual recollection which would be recorded. On the other hand, when PTSD sufferers were given ecstasy when they discussed the distressing events, they were calm, altering their potential memories for the better. Lehrer says "83 percent of the [ecstasy] patients showed a dramatic decrease in symptoms within two months. That makes ecstasy one of the most effective PTSD treatments devised." Other drugs being studied include propranolol, which inhibits norepinephrine. A study showed that sufferers of PTSD fared better under the drug because it prevented strong emotions from being created in the amygdala.

It is the protein PKMzeta which may be the key to eliminating specific memories however. Its "crucial trick is that it increases the density of a particular type of sensor called an AMPA receptor on the outside of a neuron. It’s an ion channel, a gateway to the interior of a cell that, when opened, makes it easier for adjacent cells to excite one another." Interestingly, by genetically modifying a rat to have more PKMzeta, it causes them to become "mnemonic freaks, able to convert even the most mundane events into long-term memory." If a drug were invented which you could use to erase a bad memory would you take it? Would you be fearless enough to rip pages you didn't like out of the book? "Eternal Sunshine of the Spotless Mind" suggests that if we forget the past we are doomed to repeat the same mistakes. In the videos below we see Joel's last vision of Clementine being erased. She whispers into his ear, "meet me in Montauk," the place they first met and the place she still heads to without knowing why. Joel ends up following his unconscious and they do see each other again. There is something between them already which neither can put their finger on. They seem to complete each other. The second video deals with the last chronological scene in the movie, when they figure out they have been in a relationship before.





Lehrer says something similar: "The problem with eliminating pain, of course, is that pain is often educational. We learn from our regrets and mistakes; wisdom is not free. If our past becomes a playlist—a collection of tracks we can edit with ease—then how will we resist the temptation to erase the unpleasant ones? Even more troubling, it’s easy to imagine a world where people don’t get to decide the fate of their own memories." We evolved the perfect memory, one which allows us to grow from our mistakes but not remember so much as to stagnant our growth. By altering this balance, we risk our humanity. As for myself, I would not give up the past. The other day I was talking to a close friend and he told me, not verbatim, that he tries to remember the good things as to not resent the bad ones. It's hard being pissed off about what happened all the time, but growth is important in our narratives--there are always new goals to reach and new mountains to climb. By deleting the bad events, we lose this momentum. Even if we could be as children again, as Socrates promotes, we would lose the significance of it. Our society also risks falling into Aldous Huxley's A Brave New World, especially if this drug ended up in the wrong hands. I fear it, and personally, I would refuse to take it.

Wednesday, February 22, 2012

The War on the Goddess, Part 2

1. The Dying and Rising Gods, Apollo the God of Rationality

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Just when the war against the Mother was looking its bleakest and it appeared life would be snuffed out forever, the sun burst forward and released its rays on the entirety of existence. The image we are meant to see in our minds is a great lion roaring, and the darkness dissipating to the edges. He is often portrayed as a beautiful young man with golden hair, riding a chariot and carrying a lyre, and was Apollo to the Greeks, Krishna to the Indians, and when he returned midway through the great story, Jesus to the Christians. With his rational insight glowing from his forehead, "he pushe[d] back the darkness until it becom[e] like a giant dragon or serpent encircling the cosmos" (Booth 72). By roaring from his leonine lungs, the Mother became impregnated in her 'cosmic womb' from his shout. Matter starts to bead, to come together into planets, moons, asteroids, and slowly plant life. The massive spinning mists harden. He literally sings the world into being.

This story, according the secret schools, is the transformation of the mineral to the plant consciousness. As green life began spreading over the face of the earth, death was nonexistent--plants thrive by being pruned, by receding each year and coming back the next. And this "vast vegetable being at the heart of the cosmos, whose soft and luminous limbs stretched to all four corners of it, was Adam. This was paradise" (73). When we commune with nature, as Montanans are often prone to do, we are returning to the state before animal consciousness and ego. It is a more peaceful world, or at least one where the cycles of life and death appear to be an illusion. "Because there was as yet no animal element to the cosmos, Adam was without desire and so without care of dissatisfaction. Needs were satisfied before they could even be felt. Adam lived in a world of endless springtime. Nature yielded an unending supply of food in the form of a milky sap, similar to that which we find in dandelions today. Memorials to this blissful satiation have come down to us in statures of the many-breasted Mother Goddess" (74). This plant consciousness continues to exist and is often referred to as the subconscious. If you were to see a diagram of the nervous system, it would look very much like a tree.

The 'third eye' is often understood to be the pineal gland in the front center of the brain behind where the forehead is. Many animals, including some lizards, frogs, and lampreys, maintain a small eye here, capable of detecting rays of light. Chakras are often thought of as New Age mumbo-jumbo but were depicted across the ancient world. The horns on Moses', which many understand as a mistranslation, could "represent the two petals of the brow chakra" (Booth 77), and the pictures of Pharaohs with a snake on their helmets relate to the pineal gland as well. The pine-cones atop Dionysian wands and the staff of Aaron are sometimes interpreted as enlivening the forehead chakra. The third eye was man's connection with the spiritual realms (sometimes described as a sphincter) and sits between both the left and right brains. It regulates the hormone, melatonin or DMT, a drug which can cause hallucinations, or experiences beyond the normal range of perceptions. This eye is one of the most important symbols as relating to the overcoming of the monstrous being of Saturn and the holistic, sometimes fickle Mother. It is here where you can utilize both sides of the warring parents, and the realm of the dying-gods, specifically Apollo/Dionysus, the twin deity--the first half is accepted by our modern world, but the second half is repressed. The eye is also the place where our mind makes sense of the universe. The swirling mist gains geometry only when we perceive it as such. Like Schrodinger's Cat, there would be no one there to give mass shape or coherence. We create the universe by observing it.

I shall come back to this, but first I want to briefly explore the next stage of consciousness' development: Adam's temptation. This is the final part of the three-part act during ancient initiation rights.

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Lucifer, the morning star, is the animal consciousness, which gave birth to the ego. He is a necessary evil and quite separate from Saturn/Satan. His image is of the snake wrapped around the tree and represents the spinal chord forming, of plants becoming animals. In Shlain's The Alphabet Versus the Goddess he describes how women became increasingly sexualized through homo sapiens' development and could produce offspring anytime as a way of getting men to protect and help raise the children. Other mammals are fertile only a few times a year with males interested in procreation during this period alone. Chimp society is formed this way but women overcame this. Sex for them became a continuous bargaining tool. Women, by becoming increasingly dependent on mans' hunting, are what caused his domestication. Thus did Adam and Eve perceive themselves as being naked. Snakes are linked to women, as readers of Genesis will know. The snake appears to eternally renew itself by shedding its skin, it crawls along the earth on its belly, and its body has similarities to the umbilical chord. Shlain mentions that a woman appears serpentine during intercourse, opposite of the man's awkward thrusting.

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In the esoteric tradition, Lucifer is Venus. One only needs to look at the morning star to confirm this.

These associations are an important aspect in the next few myths I will explore--the relationship between men and women. In these tales, the woman takes the forefront. This was the result of the agricultural societies. These myths are very different than the sky gods of the Paleolithic period. Death was seen as an illusion, and gods' stories became increasingly more complex. However, these stories were rationality developed, and the images created during the time are still commonly represented across our modern cities.











2. Osiris, Horus, and Adonis

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The dying gods are at the heart of many religions and esoteric ideas. The sun represents compassion, truth, and love. It shines its light upon on all our heads, brightening the Earth, saving the world from the darkness of night, breathing life into every tree, bush, and weed, every mouse, shark, and elephant, and every human. In the body, it is the heart organ, pulsing blood to the rest, saving the rest, just like Jesus shed his blood on the cross. One day, sages say, he will return, and the Goddess and the Sun will be reunited once again. In Syria, he was Baal and Tummuz. In Babylon, he was Dummuzi. In Greece, he was Adonis, Apollo, and Dionysus. In Iran, he was Mithras. In Rome, he was Attis. To the Masons, he is Hiram Abiff. And to the Christians, he is Jesus Christ, the savior of the world. In this essay, I will focus most of my attention on the Egyptian Osiris/Horus and Apollo/Dionysus. The myth of Osiris, Horus, Set, Isis, and Nephtys is not a backwards myth, with deities worshiped by a backwards people, dead and incompatible with our modern reality. In fact, it is built into the Great Seal of the United States. The Great Eye of Horus is on all our dollar bills. It shines true, above all petty human concerns, above prejudices, hate, and discrimination. The founders saw themselves as being on top, where the capstone would be, observing the world from a purely rational mind-state. Many researchers have examined the esoteric lay out of the capital. With its grand obelisks drawing energy down to earth, enlivening the Washington Monument where the cock magically ejaculates, and the spiritual semen is jettisoned across the reflecting pool and impregnates the great Capital building dome--an ancient representation of the womb. Every day, the sun rises, and every day, Horus is conceived. Even the number 13 is magical. Twelve is the number of disciples Jesus had, so Jesus was number 13--the God who resurrects. To explore these themes more deeply, we are going to have to examine the myth of Osiris.

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The Egyptians believed that their kingdom was once led by Osiris during a golden age. Herodotus, the early Greek historian, claims that his grave was decorated with huge stone obelisks as well as a man-made lake. "It is on this lake" he says, "that the Egyptians act out the Mysteries, the Black Rite that celebrates the death and resurrection of a being whose name I dare not speak. I know what goes on but ... say no more." If that is not intriguing, ala H.P. Lovecraft, I don't know what is. I found a post on a website who's author believes that the god's tomb is 100 feet below the Sphinx. Of course this is quite speculative in a conspiratorial sort of way, but it does go to prove how serious people take this god in his corporeality. Osiris' name is connected with reproduction, ('ourien' means semen), and some claim he is the same as the Greek Orion and biblical Nimrod (perhaps stretching even to Gilgamesh). His tale is one of betrayal, resurrection, and Mother Goddess worship. Like Baal and Dummuzi, he dies and is resurrected--like the sun dies every night and comes back in the morning, and like the winter kills life and spring brings it back. Like Dionysus, he also has a polar opposite in his brother Seth.

Brother battles reoccur in stories across history, notably Shakespeare--they show duality in pairs. Seth's name links him to Saturn/Satan. His motives for wanting to kill his brother are hazy. Was he jealous? Did he catch Osiris cheating with Nephtys? At any rate, after a gala, Seth tricks his brother into a coffin. After discovering the perfect fit, he seals Osiris inside, covering it with molten lead and throws it in a river. Osiris' sister/lover, Isis, is so distraught by his death that she searches for him across the ancient world, eventually finding him encased inside a tamarisk tree. She, being an amazing god, resurrects him, but Seth quickly discovers this miracle and chops the revived king into 14 pieces anew. Again, Isis finds all her husband's parts in the Nile--except for his penis, which was eaten by a crocodile. However, she manages to impregnate herself with an ersatz recreation and gives birth to Horus, who swears revenge on his uncle. He flies to greet Seth on a flying saucer with the aid of Thoth and kills him. In the aftermath, Osiris continues to rule the underworld, weighing the dead's deeds and granting them access to his kingdom if they weren't found lacking, while Horus was the king of the living. "The myth of Osiris," according to Mark Booth, "has many layers of meaning, but it is above all a myth about consciousness. It informs us that we must all die--but in order to be reborn. The key point in this story is that Osiris is reborn not into ordinary life, but into a higher state of consciousness" (131). Plato's realm of sphere's and imperfect shadow realities are reflected in what Booth says here. "'I shall not decay,' [Osiris] proclaims in the Book of the Dead, 'I shall not rot, I shall not putrefy, I shall not turn into worms, I shall have my being, I shall live, I shall live'" (131).

The Greeks, I believe, saw their Osiris as a dual entity (Apollo and Dionysus), and I will relate this in more detail in the subsequent paragraphs. However, there was another archetype in the Hellenistic world which also fit this theme. Tales arrived from Syria in the story of Adonis, the place where he was conceived. Adonai, another dying god who symbolizes cycles, literally means 'lord. In some stories, after much bickering, Adonis spends one-third of the year with Persephone in Hades, and two-thirds with Aphrodite, as a metaphor for the seasons. However, the most famous account deals with Adonis' death. Aphrodite, the mother god in this case, falls very much in love with the beautiful young man until he is gored and killed by a wild boar, sent by various goddesses in different accounts. Upon his death, Aphrodite sprinkles his blood with nectar and an anemone blossoms. In Shakespeare's version, she places the flower between her breasts and weeps her loss. When Ted Hughes analyzed the bard's choice of subject, he sees the boar as a destructive force which appears time after time in his works. I would argue that the creature is a force of Saturn, again trying to wreak havoc on the Mother Goddess.







3. Apollo/Dionysus

The Greeks knew that the Egyptian Osiris had parallels with their own gods, and some translated Dionysus and Osiris as being one and the same. In one tale, Dionysus flees from Greece and disguises himself in Egypt as Osiris.

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But where does Apollo fit in? Apollo is the god of laws, construction, language, and wisdom, which seems somewhat opposed to the other solar deities. Zeus' favorite son, he plays the lyre and his chosen weapon is the bow and arrow, because like logic, he analyses rationally from a distance. Jean Shinoda Bolen in her book on male archetypes, Gods in Everyman, explains that "Apollo personifies the aspect of the personality that wants clear definitions, is drawn to master a skill, values order and harmony, and prefers to look at the surface rather than at what underlies appearances." She continues, saying that the "Apollo archetype favors thinking over feeling, distance over closeness, objective assessment over the subjective intuition" (135). Apollo, again, symbolizes law, order, and most importantly, logos and language. Intriguingly, it was this God who killed Python, a serpent monster. Logos killed mythos. The male zeitgeist killed the female one.

Opposed to the archetype of Apollo, but ultimately completing him, is Dionysus (Bacchus to the Romans or Iachos as an infant). Bolen says that the Dionysian archetype "has powerful positive and negative potentialities, stirring up the most ethereal and the basest of feelings, creating conflicts within the psyche and with society" (255). He represents madness, the extremes, and drunkenness. At one moment he can be in the throes of ecstasy and in the next a terrible depression. Where Apollo stands at a distance with his arrows raised, Dionysus knows the truth is only in the present. There is no planning. There is no figuring out the next step in preparation for a scheme. A representation of these two opposing figures in modern pop culture is Batman and the Joker, as anyone could have guessed by Heath Ledger's incredible performance in "The Dark Knight."

Dionysus is also the persecuted god, the one who needs to be sacrificed, because the extremes exist within him--just like Jesus' arms stretched over the cross. He wishes to save the woman who he loves and will eventually place her in the role of a wife/maternal figure like his great love, Ariadne. Dionysus can drive women mad. He is needy, haughty, dangerous, moody, and fickle. He tempts them with base desires which may be hidden away because of man's dominance over them. Women, under the spirit of Dionysus, would rampage into the hills, suckling young animals and ripping to shreds any that dared to flee from their procession. This was an expression of society's pent-up aggression, an outlet for the rational god, and a need of the mad one. Dionysus' maenads tore Orpheus and King Pentheus apart in the myths. Anyone familiar with True Blood will know Dionysus' characteristics if they have watched Season 2. He is known as the "god who comes" in this exploitative HBO series, but Dionysus exists within us all. One myth tells of Dionysus being torn apart and eaten by the Titans. When Zeus discovers this, he kills the giants and makes man from their bodies. Thus, a little bit of this persecuted god is alive inside of you, whether you like it or not. Dionysus is also nomadic, having traveled east to India to study with the gurus there. In numerology he would be characterized by the number "5".

It is my belief that Apollo and Dionysus are the same god. Both represent the sun (like Osiris), and without the other, something is lost in their respective images. Once every year, Apollo was known to fly away to the Hyperborean land and leave Dionysus in charge of Delphi. This act can signify the winter cycle or the daily sleep, but it also can represent something more. We cannot be purely rational all the time. William Blake talks about balance. By trying to destroy Dionysus, he will only come back stronger when he emerges within us again. Economists call these wild tendencies "animal spirits," where unexplainable zeitgeists seem to overwhelm the minds of people and drive the markets crazy. I believe something was forgotten in our rational society: Dionysus, the need for madness which overtakes us one-fourth of every year, one-fourth of every day, and one-fourth of every hour. Nietzsche, in The Birth of Tragedy, emphasizes this trait in the works in the three great Greek play writes, saying that the ordering hero (of Apollo) is overwhelmed by chaotic fate (of Dionysus)

Dionysus is holistic like the mother. He is the god of masks, theater, and roles. As Apollo tries to construct something beautiful, the Dionysian (sublime) aspect will ultimately beg to tear it down. Apollo with his lyre would play something by Bach or Beethoven, Dionysus would be most happy at a rave, and as Apollo is the god of law and order, Dionysus is the god of the destruction of boundaries. According to the American scholar, Camille Paglia, "The quarrel between Apollo and Dionysus is the quarrel between the higher cortex and the older limbic and reptilian brains." Apollo, the god of supreme rational wisdom portrayed on our dollar bills on top of the pyramid, is logos. In his 'supreme wisdom,' he was aware that he needed Dionysus by fleeing to Hyperborea. In our modern culture, we have forgotten this. Dionysus is persecuted. Feminine characteristics are stomped out of boys in lieu of the cherished engineer Apollo, Zeus' favorite son, the Ivy League hopeful, student body president, and captain of the swim team. Economists talk about rational individuals but forget that individuals are also 'mad' one-fourth of the time.

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Dionysus, as an archetype, is also the remarriage of Christian and Satanic images, as discussed in this essay. In his myths, he is the god who died for man's sin many times yet always resurrects. He is associated with the vine and honoring him by a "ritual meal of bread and wine" was common in his celebrations. His father was a sky god (Zeus) and his mother a lesser moon goddess (Semele)--something we will see has parallels in esoteric knowledge--and his name has the familiar 'sus' at the end. Similar themes of both Dionysus and Jesus traveling to India and learning ancient wisdom have also emerged in the esoteric tradition.

Why are there so many similarities? Because good mythologies steal from each other and they are both in the tradition of the dying-and-rising gods which appeared across the ancient globe. Wikipedia says, "E. Kessler in a symposium Pagan Monotheism in the Roman Empire, Exeter, 17–20 July 2006, states that Dionysian cult had developed into strict monotheism by the 4th century CE; together with Mithraism and other sects the cult formed an instance of 'pagan monotheism' in direct competition with Early Christianity during Late Antiquity." Pagan cults of Dionysus and Asclepius were early competitors to Christianity. Shlain would say this monotheism was a result of literacy in both societies and probably why a god of written laws made such headway, finally overtaking ancient pagan beliefs. Dionysus, as the god of women and irrationality, was of course the god who would be ultimately banished from the collective mind. This could be a result of the two religion's early competition as well as the emergence of rational law and thought. Greece cherished Dionysus' presence. But to establish hierarchy, Rome could not have the holistic, mad god on the loose. Dionysus was often cavorting with satyrs in his myths, being helped raised by Silenus in a cave. The devil is also seen as a goat-man in imagery, with is horns, hoofs, and billy-goat-tee. He has many of the features Christians associate with the devil. Both Satan and Dionysus are also associated with women and snakes because he is the god of this world, and by attempting to extirpate him, we only make his allure greater. Modern culture's hidden desire for darkness and death can be seen as our Dionysian energies exploding out in uncontrolled ways. Logos and mythos complete each other, they are not at odds. In Game Theory, we call this a relative sum game. Both can thrive as the other does.

Some have gone as far as to proclaim that Apollo will be returning in 2012, as was predicted by several different groups as a new golden age of the gods. Tom Horn describes in his book, Apollyon Rising 2012, that "the tomb of Osiris may actually have been discovered in Giza in recent years containing DNA related to the deity" (135). This may remind people of the Lovecraft mythos, especially when esoteric mystics like Manly P. Hall proclaim in their books, "The Dying God shall rise again! The secret room in the House of the Hidden Places shall be rediscovered. The Pyramid again shall stand as the ideal emblem of solidarity, inspiration, aspiration, resurrection, and regeneration." A slightly terrifying prospect when Revelation mentions a being by the name of Abbadon, 'Apollyon'. The Cumaean Sibyl describes a new divine son, who "is to be spawned of 'a new breed of men sent down from heaven' [...] when he receives 'the life of gods, and sees Heroes with gods commingling" (137). Horn translates this as Apollo being the literal anti-Christ, son of Zeus, the pagan version of God. He describes how this spirit has reincarnated throughout the ages in different guises, most notably Napoleon, who's name translates as 'the true Apollo.' He also relates how the Pythian priestess' prophecy powers and convulsions were similar to modern day demon possessions depicted in movies like "The Exorcist". I am not sure what to make of this, though I do know that America was described as the New Atlantis by distinguished philosophers like Francis Bacon, and that the eagle on the dollar bills could very well be translated as a phoenix, an important occultic symbol. At the very least, it is interesting reading for a late night to scare yourself in the darkness. In the end, I think the dual Apollonion and Dionysian archetypes are the seat of rationality, but only when they are coupled together. It is where we need to arrive at and think through to defeat a history of wars and irrational sky father philosophy--at least in the way it is being interpreted today as sort of a death cult. In the next section, I will discuss the modern Father god, and how he came to prominence upon the invention of the alphabet.

Tuesday, February 21, 2012

The Pokedex, Part 2

Sorry for this uninspiring post. I have miles to go before I sleep; however, I promise to post something good for Friday. This is my memory palace, a cafeteria... and if you are confused, this is a continuation of the same story from my last blog.

24. Arbok
23. Ekans
22. Fearow
21. Spearow
20. Raticate
19. Rattata
18. Pidgeot
17. Pidgeotto
16. Pidgey
15. Beedrill
14. Kakuna
13. Weedle
12. Butterfree
11. Metapod
10. Caterpie
09. Blastoise
08. Wartortle
07. Squirtle
06. Charizard
05. Charmeleon
04. Charmander
03. Venusaur
02. Ivysaur
01. Bulbasaur

As I walk toward the lines where they are serving food I see a King Kobra (Arbok spelled backwards) on someone's plate, hissing. I back up but run into another person with a snake on their plate as well (ekans spelled backwards). A great fear is awakened within me as a student runs forward and spears the beasts before my eyes (fear, spear). Unfortunately as I get into line to get a heap of whatever they are serving, they plop a rat down. It's name is Cate and it speaks quickly, ratata. I sit down with my food and begin to eat. A swarm of birds fly above around the ceiling and poop in my food--pigeons. I eat it anyway. It is full of garbage like beeds, raccoons, and weeds. I eat it still. Luckily the butter is free, so I pour a bunch of that on. It's no good, the food tastes like peas. It is catered food.

I get up to leave, a little angry about the whole endeavor, but am blasted back (blastoise). Someone screams "FOOD WAR!" and starts squirting mustard from a bottle at me. I picked up someone's charred steak and melon and throw it at a man. I am sore later that night, until they put me on an IV and my bruises fade away (bulbs, a stretch, I know).

To thank you for clicking this link, here's something funny:

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Okay, not so much funny as profound...

Friday, February 17, 2012

Language of Commerce and the Pokédex

I have to disagree with Dr. Sexson on something. To be honest, I love economics. The dismal science rings true to me almost more than English Lit does, and someday I would love to combine the two into a grand theory. However, this may be too ambitious even for me (but hey, a "man's reach should exceed his grasp" and all that). I know I have been dealing with some esoteric stuff lately, specifically about the war between Saturn and the Mother. I want to bring that to a conclusion next week or the week after, but I have to admit I often feel like the war is playing out inside myself. You see, my other major is the sleaziest of Saturn-like pursuits, Finance--the language of commerce at its worst. If Dr. Sexson is right in that English Majors need to return language to a Golden Age, then I am willing to try. I have my foot in both worlds. Finance, I must admit, is much less appealing to me than Economics. There is something beautiful about looking at a demand-supply equilibrium graph. Its simplicity is what makes me smile. There is usually no exotic derivatives, fixed income durations, or complicated correlation and beta calculations, it's just two lines crossing each other. I have a strong belief that I am under a Dionysian spell, so it would make sense that I would waver between two extremes: hard materialism and holistic Mother Goddesses. Dionysus is mad, caught in the moment, and needs mothering. I think I suffer from several of these faults. As far as business goes, Apollo did leave Dionysus in charge of Delphi three months every year as he chilled with the Hyperboreans in the North. Every rational person needs to spill his mind goo against something sometimes or he will go insane. I was also struck by how Dr. Sexson used my last name as an image for Hephaestus' ax in Zeus' skull. Just the other day someone had misheard me and thought my last name was X-line (as in a X-Y axis). I like this--the break between the Apollonian and Dionysian, and the balance one seeks between them.

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On the topic of commerce, I bumped into an article on Money Week today by Seán Keyes titled "How Britain’s cultural revolution transformed the world." I am not sure how you pronounce Seán--I would imagine it would sound something like shaw-AAAAN, as if the mother was asked the baby's name as she was still in the process of giving birth. His thesis, as you could guess from the article's name, was that Britain's focus on markets was what brought Europe out its sty-rolling. He says, "It didn’t matter whether you were born in bucolic 17th century England or a Stone Age cave. Your lot in life would be hardscrabble toil, a cramped dirt-floor home and a swift death at the age of around 30. It would be the same life as your grandparents and your grandchildren." Innovation in the last 10,000 years was painfully slow. There was nothing like Moore's Law to describe the energy of the markets, at least not at a level most men or women could see over a span of a lifetime. It was also dragged down, according to Shaw-AAAAN, by large family sizes. He complains that "before 1800 the economy was like any other ecological habitat. Any improvement in conditions could only be temporary, because more mouths pulled living standards back to subsistence level in the long run." What happened? Shaw-AAAAN's theory is that the attitude towards commerce changed. Before merchants were looked at by the aristocracy, the military, and the Church as committing some sort of evil because it was seen as a threat to their power. But then Adam Smith's "The Wealth of Nations" was published in 1776, morphing opinions to the favor of the merchants. (I don't mean to suggest that Britain wasn't heading towards freer trade before Smith's tome; however, it did open up the idea to a wider range of people.)

Seán Keyes' conclusion is right. "The novel idea that decent people could make profits took root. Aristocratic cultural dominance was coming to an end. That freed both landed gentry and lowly artisans. With the stigma removed, people ‘broke rank’ and came together to pursue opportunities and ideas, which led to further inventions and further opportunities. Cultural barriers had kept innovation hemmed in. When these dissolved, ideas were finally free to proliferate. So the new culture made all the difference between ideas forming slowly and in isolation; or quickly, and together." Economics and markets really did make us better off. Your average poor person in America today is richer than Kings and Queens just a few millennia ago. His money can purchase electricity, indoor plumbing, goods from around the world, television sets and video games, things which no one had access to in 1700s unless you were very rich and could afford a time machine. Commerce is not evil. Not at all. I love it, and we all should. The invention of written language is what brought to us this society we live in today.

There could be no markets without strong laws, something many developing nations have discovered the hard way. No one is going to want to invest if there is not a strong likelihood of getting your money back. In a valuation equation it would go in the denominator, where the high R would make it too risky for anyone to consider putting their money into, even a muckety-muck from Wall Street. Sure there are institutions like the World Bank, but even they are profit orientated. In another class I am learning about currency exchange rates, and in another about propaganda and how during war we create an evil abstract enemy which does not exist. I realized that both these things--fiat currency and the creation of abstract enemies--are in the realm of Saturn. They are themselves a result of literacy and the abstract, logical world we created. Many would argue that we have gone too far down that path, and it has created a great void in the mind's of men. I would agree with this assessment. Something needs to be done to bring oral culture, with its holistic spirit, back to us. Metis needs to be resurrected from the dead to give birth to her prophesied son.

Now for my memory theater (or thea-TRA, in a British accent). I will set it in the Johnstone cafeteria because I feel like I talk about that place a lot in this blog anyway. So here goes, off on my grand interior venture-- The Pokedex!

51. Dugtrio
50. Diglett
49. Venomoth
48. Venonat
47. Parasect
46. Paras
45. Vileplume
44. Gloom
43. Oddish
42. Golbat
41. Zubat
40. Wigglytuff
39. Jigglypuff
38. Ninetales
37. Vulpix
36. Clefable
35. Clefairy
34. Nidoking
33. Nidorino
32. Nidoran Male
31. Nidoqueen
30. Nidorina
29. Nidoran Female
28. Sandslash
27. Sandscrew
26. Raichu
25. Pikachu
24. Arbok
23. Ekans
22. Fearow
21. Spearow
20. Raticate
19. Rattata
18. Pidgeot
17. Pidgeotto
16. Pidgey
15. Beedrill
14. Kakuna
13. Weedle
12. Butterfree
11. Metapod
10. Caterpie
09. Blastoise
08. Wartortle
07. Squirtle
06. Charizard
05. Charmeleon
04. Charmander
03. Venusaur
02. Ivysaur
01. Bulbasaur

As I walk into the lobby of Johnstone I notice three Doug Funny's trying to dig a hole. It's a very small hole though because their shovels are made out of dirt. They are next to the fountain where all the plants are (if you are familiar with the terrain). Flying around one of the largest ferns is a very dangerous looking moth. It's colors are striking--brilliant red, neon green. It flies forward and lands on one of the Doug Funny's noses. He becomes terribly ill, mushrooms blossoming across his skin in the shape of the Eiffel Tower (Paris is sick). He coughs and falls over dead as the virus spreads to the others. It's a vile fate, a gloomy fate, an odd fate (I love these names!).

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I walk further into the hall where the furniture is ordered around a big television set. A vampire is watching a football game (Goal Bat) and then switches the channel to Animal Planet (Zoo Bat). A beautiful woman with a wiggly tuffs of hair and jiggly puffs of something (heh) sits down next to the vampire. She pulls out her phone and tells him nine stories (Nine Tales) from the vulgar pics (Vulgar Pics) she has stored in it. The Vampire says that her stories are made up (Clear Fables) and that the people in the pictures were imagination (Clear Fairies). Offended she walks off.

I walk toward the cash register, noticing the racks to hang your coat. They come in all sizes--some for kings, some for queens, some for boys, some for girls. I don't have a coat though. (I don't King, I don't queen, I don't ran male, I don't ran female). I have the guy with the sandy hair run my cat card. He smiles, slashing it through the machine, and then screwing my numbers into when the card doesn't work after several tries (Sandslash, Sandscrew). I spy a pretty girl sitting at one of the tables I rate and her and peak at her (Rate You, Peek at You).

There is the first 26. I will continue on my journey over the weekend. This very, very long weekend. Oh yes.

I ended up looking at my Pokemon image folder on my computer and picked out some with no bad words. Here you go. Disclaimer: they will only be funny if you have ever played any of the games.

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okay, just one with bad language:

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Tuesday, February 14, 2012

The War on the Goddess, Part 1

The Importance of Myth

In this entry I would like to delve deeper into consciousness as it relates to myth. I will explore some esoteric ideas and hope to get at the function of story and identity in our modern culture. Language is deeply entwined in the act of story telling. It is possible to bypass it in music, image, and dance. However, in our culture, language has moved to the forefront of not only intellectual pursuits, but also art. Movies and television are usually littered with the words except in some rare examples, usually in the animated realm. Books, of course, are only language. Graphic novels use both images and text to tell a story. Talk radio, like a book, is pure words and almost a form of hypnosis. The purpose of this is to ground our identity in the mythic dimension. The clear link between this and my prior research into shamanism and hypnosis is the subconscious/Mother and the conscious/Saturn. Reading puts our conscious out of commission and places it into a hunting position as Leonard Shlain postulates, letting our sub-conscious take control of the rest of our functions. There is a balancing act here, one I hope to delve into deeply, but may have to continue in a later entry. The masculine energy of concentration on one subject and the feminine energy of holistic integration and observation are constantly struggling with each other. But, as I will explore further, they are what makes us uniquely human: the ability to think about thinking. Before I begin, I want to acknowledge the vastness of this undertaking. It's not a short journey. Because of its length, please excuse the typos. I will try to correct more of them upon rereads.

1. The War between the Mother and Saturn

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Since the beginning of man's journey, our right and left brains have been at war with each other. This struggle has been retold over and over again throughout the world's myths, but the secret tradition has a particular image. Our left hemisphere can be represented by the Greek titan, Kronos, the god of time, and the right by the feminine Mother. Saturn/Kronos, for his part, is the supreme masculine energy of order, representing numbers, math, words, and language. He and his army of giants are eternally waging war on the gods (represented by the mother in her various pieces) in the right hemisphere, sometimes winning out like in our modern age, and other times being stuck in Tartarus. In The Alphabet Versus the Goddess, Leonard Shlain proposes "that the left hemisphere is actually a new sense organ designed by evolution to perceive time" (23). Time destroys everything. It causes us to perceive our lives as destined to end. This is a terrible dilemma of the human condition, being the only proven animal to know that some day he will die. It boxes us and begins the transformation into the new consciousness of pinpointing. However, the left also gives us "the ability to conceptualize that the abstract words crime, virtue, punishment, and justice are all related is supremely human. To be able to leap from the particular and concrete to the general and abstract has allowed us to create art, logic, science, and philosophy. But this skill tore us out of the rich matrix of nature. The part torn away became the ego" (Shlain 22). These areas allow the human mind to construct thought like children playing with Legos, according to Shlain, and are always linearly constructed. This is a necessary evil. In esoteric lore, figures like Satan and Set (notice the similarity to 'Saturn') are seen as being the representation of the animal consciousness. It is clear that the snake in the garden was necessary for humans to progress to being a creature with a mind. Men, strangely enough, often force women into the Satanic role, but I would argue that this is a confusion. The left-brain pinpoints. It focuses energy, it makes plans, and is most helpful during the hunt. Men's eyes are better able to focus on a particular object and women's are more capable of seeing peripherally. Again we see the mother as holistic and Saturn as boxing.

It is also clear that the right brain harbors the Mother. Walter Ong relates that sight isolates, but sound surrounds. Language, a creation of Saturn, does as well. Shlain says, "a conversation can be understood only when one person speaks at a time. In contrast, one's right brain can listen to the sounds of a seventy-piece orchestra and hear them holistically" (22-3). This is the essence of the right brain. It is where intuition is felt, where uncontrollable emotions happen, where "states are under little volitional control and betray true feelings through fidgeting, blushing, or smirking" (19). The right "expresses being" and is authentic. These "feeling-states do not ordinarily progress in a linear fashion, but are experienced all-at-once. 'Getting' the punch line of a joke results in an explosion of laughter. An intuitive insight arrives in a flash. Newton and Einstein both reported examples of what the poet Rile called 'conflagrations of clarity.' Love at first sight, such as what Dante experienced when he encountered Beatrice, happens in an instant. Religious conversions, such as the one that overwhelmed Paul on the road to Damascus, strike like lightning" (19). The Mother controls the subconscious, the spiritual and invisible realms. She is the home of metaphors, the sublime, and the "altered state of consciousness" I discussed in my hypnosis entry. When we read a book or watch a movie, we are communing with her by putting ourselves in a self-hypnotized state, and also when we dream--"there is compelling evidence that dreaming occurs primarily in the right brain" (20), which would make sense in that time is forgotten in this realm. The right brain's "principal attributes concern being, images, holism, and music," because music can be heard all at once, but speech has to be broken down linearly. Finally, according to Shlain, the right hemisphere develops in the fetus much earlier than the left because it is by far the older of the two. It is the mother we first see when we leave the womb, it is she who teaches us the ways of the world, and if you are a man, it is she you must deny to become masculine.

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Alan Watts has the best image of the Mother in metaphor. He uses the explosion of the Big Bang to represent her, a colossal 'event', and the word 'event' is the most pertinent here. People forget that the Big Bang is not a distant thing which happened at the beginning of time, it is going on right now and we are part of it. Language is again tricky (a failure of Saturn's logos in that it can run around in circles and never arrive anywhere) and I am having a hard time explaining this. The Mother is not just the ground under our feet, which we sometimes think of as Gaea, but she is also the air in our lungs, the flesh and bones which make us up. She is the stars in the sky, and the suns burning trillions of light years away. She is the worms under the earth, the lions on the prairie, the snakes crawling along the earth, and the scorpions on the sea floor. She is not only every thing, but also every action. This is why the Big Bang is a brilliant metaphor for this--it is an event, a grand explosion spreading through space, forming suns, planets, and moons. She is the tree, treeing, the bird, birding, and the people, peopling. Imagine a person throwing a bucket of paint against a wall. It splatters and runs down the side, and all the paint, no matter how far away from the center or how intricate it becomes as it moves down the wall to the floor, is still part of the original event. Life can be seen as the increasingly complexity of the paint lines as they make their way downward. The center is chaotic but the further away you get from it the more detailed and beautiful the splash can become. Modern new age movements have shown the mother as being a peaceful old woman wearing an apron and a dress. The ancients saw her as not only loving maternal figure, for she gave birth to them, but also vicious, capable of handing out death as well as taking it away--"the earth is both womb and tomb" (Shlain 31). Events can be both violent and calm, just like emotions.

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Throughout the Paleolithic period, Saturn the divider and the holistic Mother were held in balance, but as mankind moved to the Neolithic era about 10,000 years ago, the nurturing feminine energy became far more important. "The crop," according to Karen Armstrong in A Short History of Myth, "was an epiphany, a revelation of divine energy, and when farmers cultivated the land and brought forth food for their community, they felt that they had entered a sacred realm and participated in this miraculous abundance. The earth seemed to sustain all creatures--plants, animals and humans--as in a living womb" (Armstrong 42). Shlain comments that this particular form of culture was geared toward the female mind because "caring for young plants and animals were nurturing tasks that they had been performing all along in their role as mothers" (Shlain 33). Female deities began to move to the forefront as male ones fell behind, diminishing in importance as only pawns to a greater mother goddess' intentions, dying every year when she threw him away to renew herself. Agricultural was a logical task and required lotting, thus belonging to Saturn, but the Mother defeated him in importance because of the culture's emphasis on nature. Armstrong explains that "in early Neolithic mythology, the harvest was seen as the fruit of a hierogamy, a sacred marriage: the soil was female; the seeds divine semen; and rain the sexual congress of heaven and earth. It was common for men and women to engage in ritual sex when they planted their crops. Their own intercourse, itself a sacred act, would activate the creative energies of the soil, just as the farmer's spade or plough was a sacred phallus that opened the womb of the earth and made it big with seed" (Armstrong 44). Like the human woman gave birth to babies, the earth gave birth to plants, and some creation myths went as far to explain man's origins as blossoming from the ground like a crop; and instead of a shaman traveling into the caves to commerce with animals and gods, worshipers went underground to commune with the origin of life, the womb.

This female deity was known by many names across the ancient world--Astarte/Asherah in Syria, Inanna in Sumer, Istar in Babylon, Isis in Egypt, and Hera/Demeter/Aphrodite in Greece. There is even some evidence to suggest that war was not as common during this time because excavated communities had no defenses against outside invaders. However, the mother could also take away as much as she could give. Agriculture had the potential of disastrous results for a community if a bad season persisted. She could also kill a new mother during birth, a strange happening in the animal world, but which was common in humans because of our bipedal structure. Armstrong explains that the "Mother Goddess was not a gentle, consoling deity, because agriculture was not experienced as a peaceful, contemplative occupation. It was a constant battle, a desperate struggle, against sterility, drought, famine and the violent forces of nature, which were also manifestations of sacred power" (46-7). Hecate, for example, is both a goddess of death and fertility because in this age these two ideas were deeply linked (similar to the Apocryphal Lilith). In fact, the time before agriculture's invention was often perceived as a Golden Age by the ancients. It was a time before the great flood which destroyed Atlantis and was slowly cutting off mankind's access to the gods. This metaphor is portrayed in the Garden of Eden story where man and women lived in coexistence with the animals, and in the Babylonian legend of Gilgamesh, when Enkidu is tamed by a prostitute. Instead of a honorable death in the pursuit of a manly goal, men and animals were often offered as sacrifices and their blood plowed into the fields as a metaphor for the dying gods. This was not a time of warrior heroes like Hercules. Death was instead seen holistically and not something a heroic warrior set out on adventures to destroy. The myth of Persephone was prevalent in Greece with the Eleusinian mysteries and reminded initiates that death was not the end. Just like plants need to be pruned to regrow, and crops needed to die in the winter be be born again in the spring, so did the human conscious. Thus, the feminine right brain had become dominant over the masculine left.








2. Saturn, the Boxing God


"The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age." - H.P. Lovecraft


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You have just purchased a new house which is in an isolated area, surrounded by trees, and with neighbors miles away. You have never lived in the country before, and you leave excited, ready for a new adventure; however, as you turn to drive up the dirt road to your home for the first time, a man hails you over. He warns you that the house is haunted and all the people who have lived there before you have committed suicide during their first night stay. You disregard him as a crackpot as you pull into the driveway, but you have to admit the house puts you off kilter--there is something odd about the way the stairs creak when you walk up them, the strange smell from a source you cannot find. As you lay in bed that night, contemplating what the man said, you turn off the light. You are surrounded by a terrifying darkness. Your heart beats faster in your chest. Maybe he wasn't lying. Maybe he wasn't just trying to scare a foreigner off. Black, that's what in your vision, black. You turn on the light and things get better. This is the force of Saturn, the cloud of darkness which wants to consume the universe. He is indifferent towards you, and that is what makes him truly terrifying.

According to secret tradition, the event which preceded the creation of the universe was God peering into a mirror. One could see this as the right and left hemispheres becoming aware of the others existence and causing consciousness to be born. Mark Booth in The Secret History of the World says that "putting yourself into God's position involves imagining that you are staring at your reflection in a mirror. You are willing the image of yourself you see there to come alive and take on its own independent life" (Booth 32). By reflecting upon himself, God started the war between Saturn and the Mother. Walter Ong discusses how in illiterate cultures, abstract words for things have no place. To reflect on the self or to ask about impractical ideas such as the concept of a 'tree' would make no sense to them. Saturn is the masculine god of language, and some theorists speculate (Shlain being one of them) that the invention the alphabet was the beginning of civilization's paranoia and ultimate misogyny towards the female. Before the advent of such things as handwriting, Booth says, the ancients, "had less of a sense of physical objects. Objects were not as sharply defined and differentiated to them as they are to us. If you look at a depiction of a tree on the walls of an ancient temple, you will see that the artist has not really looked to see how its branches are joined to the trunk. In ancient times no one really looked at a tree in the way we do" (Booth 31).

At the time Walter Ong was writing Orality and Literacy in the late '70s and early '80s, only 106 of the thousands of languages ever spoken had "been committed to writing, [...] and most have never been written at all. Of the some 3000 languages spoken that exist today only some 78 have a literature" (Ong 23). Written word is relatively rare across history and cultures, gaining the greatest dominance in the West and Near East. It is the basis of logos and rational thought, of law, math, and science. Europe, the Middle East, and North Africa were driven by this written culture, with their patriarchal God and hierarchy. Muslims, remember, refer to themselves as well as Jews and Christians as "peoples of the book," and Moses received the Ten Commandments in writing from a sky god. Jews are so greatly affiliated with their holy texts that Hebrew was instated as the national language when Israel was made a state, and across the world this holds true. People hold tightly to their languages, just ask a French person to tell you the time in English.

Language also remains the easiest way to identify a specific culture. According to World Politics Trend and Transformation, "different languages reflect different views of the world that predispose their speakers toward different ways of thought," and "provides an ethnic and cultural identity" (Kegley and Blanton 165). The language we speak affects how we think, and how we think affects how we act and the habits we form. An interesting question you can inquire from a bilingual person is what language they think in. One Saudi Arabian man said he now primarily thinks in English and had even begun to dream in the language. Several threads spread across the internet ask a similar question. Here are a few: 1, 2. The second deals specifically with what language deaf people think in--it turns out it is in gestures. A book I picked up from the library titled Psycholinguistics and Reading and written by Frank Smith, deals specifically with the psychology of reading. The linguist Noam Chomsky has pondered whether or not we were born with the ability to speak, but the book's writer, Smith, disagrees with this, saying that like a bicycle, language was invented for humans by humans.

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Writing and reading are abstract activities. By naming something, we gain a certain power over it. Adam began to do this before he was kicked out for bad behavior, and this need seems to be strictly human. In some cultures it was customary for a child to receive their final name when they entered into adulthood. Others hold a certain superstition about allowing just anybody to know their appellation, as the person may be hostile and curse them. In Monotheistic traditions, God's true name is hidden from his believers, and even in today's pop culture, we see superstitious wizards from the Harry Potter fictional universe unwilling to say Voldemort because of the power it holds. By naming something we give it a new abstract life--or to be oxymoronic, a dead life cut from the Mother. Where before it was as if a mist, we materialize it by calling it something, by acknowledging it is different than everything else. This is an idea from the secret tradition because the initiates believe that before the beginning of history, the universe was just that, a mist. Booth states that "this gas or mist was the Mother of All Things, carrying everything needed for the creation of life" (Booth 63). However, as the Bible states: "Darkness was upon the face of the earth." This darkness was Saturn, "a searing dry wind that almost extinguished the potential for life altogether" (Booth 63). Here I will quote the entire passage from Booth's book because he says it so much better than I can:

Saturn "would trace the limits of the solar system. In fact he was the very principle of limitation. What Saturn's intervention introduced into creation was the potential for individual objects to exist--and therefore the transition from formlessness to form. In other words, because of Saturn there is a law of identity in the universe by which something exist and is nothing else and nether is anything else it. Because of Saturn an object occupies a certain space at a certain time and not other object can occupy that space, and neither can that object be in more than one place at one time. In Egyptian mythology Saturn was Ptah who moulds the earth on a potter's wheel, and in many mythologies Saturn's title is Rex Mundi, King of the World or 'Prince of this world', because of his control of our material lives. [...] Saturn's tyranny over Mother Earth, his murderous attempt to squeeze all potential for life out of the cosmos, continued over vast periods immeasurable to the the human mind" (65).


In this story we can see the birth of the left hemisphere of the brain. Like I stated earlier, when the fetus is developing in the mother's body, the first part of the brain to form is the right. It is by far the oldest section. "The old, wise, right side," Shlain say in Alphabet, "more familiar with the needs and drives stemming from earlier stages of evolution, can be better relied upon to negotiate with them than the younger side [in the early maturation of the mind]. The right hemisphere integrates feelings, recognizes images, and appreciates music. It contributes a field-awareness to consciousness, synthesizing multiple converging determinants so that the mind can grasp the sense' input all-at-once" (Shlain 18). Before the left side forms, it is the the Mother, the right, who is in complete control of the processes of the body. It is not until 'darkness falls' that the ego begins to form.

Perhaps the most famous representation of Kronos is by Goya. Here we can see the terrible Titan feasting upon one of his children. It is a picture of madness and is the great evil of the left brain--destructive, yet necessary.

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3. Delving Deeper

In another example of the power of Saturn, imagine you are walking through the woods in the evening, having a great time. You are enjoying the birds in the trees, and the chipmunks which scurry off before you arrive. There is so much to explore, so much to find and love. After an hour's worth of fun, you decide to return to your car, but you soon realize you can't find the trail. Beads of sweat start to form on your forehead. You begin to run. The night is quickly approaching, and when it arrives, you scream. This agent of darkness, of terror, of chaos, was written about in Genesis--Saturn, the great darkness swirling in space, eating up planets, solar systems, and galaxies. He is the black hole which rips matter to shreds, tear holes in the fabric of time and space itself. Some day, when we are in great ships traveling through star systems, we will come across him in all his horror. Hellish orbs will swirl around them like an eddy, caught in the Sarlac's pit, dragging down his prey. Saturn wants to destroy everything, because it is there--and the way he does this is by making everything the same. In "A Wrinkle in Time" he is IT. IT's form of evil isn't great explosions or massacres, it is stealing the soul from a person, making them like ants in a colony. They have no lights in their eyes. They do everything at the same time, creepily bouncing balls in their drive ways. In the end, this is Saturn's goal--it is to steal our spirit from us, make the universe into something like complete matter. This is the great danger of a society possessed by the spirit of him, stealing away human's individual rights to life, liberty, and property. Saturn makes men into meat, into senseless material with no rhyme or purpose. He is a god of this world, living amongst us, cutting up pieces of the great blanket and making a quilt.

Saturn is the spirit of duality, language, and logos, but at the same time opposed to all these things. He attacked the great mother earth. He wanted to shred her to pieces, but she was saved by the light of the sun. Booth describes the chaotic God who is found across ancient myth--Satan, Seth, Loki. "If an individual entity can exist through time, then by implication it can cease to exist too. This is why Saturn is the god of destruction. Saturn eats his own children. He is sometimes portrayed as Old Father Time and sometimes as Death himself. Because of Saturn's influence everything that lives contains the seeds of its own end, and it is because of Saturn that what feeds us also destroys" (Booth 65). Saturn introduced to the world dualities and conflicts and death--this will later be exacerbated by Lucifer, the light bearer, but this was before higher states of consciousness, before the fall. "Death is in everything in the cosmos," Booth writes, "woven into the bright blue sky, a blade of grass, the pulse of a baby's fontanelle, the light in a lover's eye. Because of Saturn our lives are hard. Because of Saturn every sword is double-edged and every crown a crown of thorns. If we sometimes feel our lives almost too hard to bear, if we bruise and if we do cry out to the stars in despair, it is because Saturn pushes us to our limits" (65).

Saturn and the other Titans are often pictured as giants in our mythos. Giants are the metaphorical need to destroy what's beautiful and rend it into simple matter—they are agents of chaos and destruction. Kronos, the Greek appellation of Saturn, was the father of Zeus, Poseidon, Hades, Hera, Hestia, and Demeter, and his name means Time. Kronos tells the heavens and the ground beneath him (his parents) that he is their ruler. They reply vociferously back, “[Your children] will bind you in a terrible prison, and one of them will rule instead of you!” (Green 10). Kronos knew the Earth could tell no lies, so every time his wife gave birth, he would eat the baby—“just as Time swallows up the years, one after another” (Green 10)—until one day his wife could take no more. She stole Zeus away and hid him in the mountains of Crete, instead giving the terrible Titan “a stone wrapped in baby-clothes” to eat. After he is grown, Zeus, with the help of the Cyclopes, defeats the Titans and throws them down to Tartarus. There they rest until they rise again and wage war upon the Olympians in a terrible battle reminiscent of Ragnorak and the Genesis story of Nimrod. The fear of the giant is also the fear of ourselves. He is both outside and inside us—a force that wishes to reunite with the surrounding world in “Otherness”, a lost paradise to which we can never return. The giant’s cannibalistic tendencies speak to his need to assimilate, retake what is his—an ordered and structured matter returning to chaos. He wants to see the sun go out in Ragnorak between Fenrir’s jaws. He wants to demolish Asgard and kill everything that is beautiful. He wants to make war on Heaven and Earth and consume it all with his terrible jaws. Kronos eats his children. This represents his need to render the representations of the cosmos into mere shit, material. Saturn is the will to dominate. He destroys things by controlling them, just like we destroy nature or relationship by trying to wield too much power over it.

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He is represented by cultural and literary figures--Emperor Palpatine, IT, Lord Voldemort, Cthulhu, The White Queen--time after time, story after story. How can this be that a black force, that a solidifying agent, can create so much chaos but at the same time represent sterile, dead, transformation into geometry and block? The great swirling darkness is trying to destroy Mother Earth, the wholeness, and create another--one of dead space, of static separations, a universe of boring eternity. When we think of Saturn, we should think of Deleuze and Gattari's "Smooth Space." Modern man has divided the world into countries, states, counties, kingdoms, species, genuses, departments--everything is its own special place. Borders are a thing of Patriarchal civilization. Where mother earth is the feminine force of nature, Saturn is the masculine one. In Shakespeare's plays, characters run to the wood, a place without fences to conduct love affairs. In the forest, gender breaks down, animals and humans begin to mesh together. It is a place of magic and mystery. Theseus' Thebes, Augustus' Rome--these places are ruled by men. Civilization is man's sphere of influence. Civilization is a place of increasingly striated space. By hacking at the wholeness, we create the perfect material universe, ruled by Saturn, the child eater, the boar who killed Adonis. Picture a square--it has a line drawn through the middle, making two objects--then another, then another, then another, until the box has so many lines that it's just a square again. Mother Earth is a square, Saturn is a square, and we are caught in between--two great dualistic wholes--material and spiritual. It is only through the image of the rising and setting sun, of the seasons, do we see that both these conditions imply each other.

Death implies life. Life implies death. Our imperfections are what make us lovable. It is exactly because we have flaws that draws us to other forms of imperfect consciousness, and so many people have trouble relating to an omnipresent, omnipotent, perfect God. "Aren't children lovable because they're falling down all the time and have little bodies with the heads too big?" Joseph Campbell says in The Power of Myth. "Didn't Walt Disney know all about this when he did the seven dwarfs? And these funny little dogs that people have--they're lovable because they're so imperfect" (4). Bill Moyers asks Campbell if perfection would be a bore. "It would have to be," he replies. "It would be inhuman" (4). The history of Mother Earth/Saturn/Apollo is the history of consciousness. We can see how throughout the ages the wholeness of nature and life is always at tension with the chaos of material hell. Perhaps this war's greatest theater was the West. Here is where man worshiped God as the great governor of the universe, and it was this line of thinking which made it easiest for Satan/Saturn to wage his greatest battles. If this great force was left to rule the universe, he would conquer the cosmos. What's preventing him from doing this?