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Monday, May 24, 2010

Acrophonic Nature of Numbers

When the Illuminatus Observor was first conceived, it was intended to lay the foundation for the comprehensive understanding of the "Metaphysics of English". It was intended to wean the early efforts in various forums (and with it, the prevalence of disruptive elements found across the net) and create for the construction an audience in its own right.

Some 130K words later, it appears the effort has been largely successful.

The Illuminatus Observor has become what was intended, a comprehensive site of Illuminati (Osirian) knowledge explained in a contemporary fashion free from what I view as "negative" and "constricting" knowledge as is espoused within Occult literary efforts on this subject.

The challenge, however, is how to expand this knowledge and provide you who have gained higher insights with ever more insightful information while maintaining reference points based on historical reference points.

However, at some point in time, it becomes necessary to free the analysis of English as a metaphysical construct from overtly traditional analysis and delve into the realm of philosophical musing or inquiry. To those who are not familiar with the entire body of work contained within the Illuminatus Observor, the diversion of "musing" on words as metaphysical constructions may appear far from rational or logical.

However, in order to expand further, it really becomes necessary to vocalize and rationalize "outside of the box" based on the concepts contained within. As such, we may further expand on connections. Hopefully, the exercise will not prove to be "disjointed" to the versed.

The exercise is, equally, far more fluid and easier to put down to words.

Without further adeiu...

The Principal of "Acrophony"

Before we may embark on any metaphysical musing on words, we must first keep in mind the nature of Pi as philosophical construction. Far more words than is believed are crafted to encode this constant and, as a further expression, conceal and reveal core philosophical constructions in the language.

Consequently, when we study metaphysical constructions as "Letters", we must keep in mind the value of Letters as "letters", and equally, the value of names as they pertain to "letters". Only in this way may we begin to comprehend the nature of acrophones as a metaphysical construction.

What, then, is an "acrophone"?

Acrophones are, in short, the names that are provided to given letters. From "Wiktionary" we find the following definition:

"(linguistics, archaeology) The first sound of a word, or a glyph used to represent the first sound of the word it represents

"1999, G. Brian Thompson et al., “Learning correspondences between letters and phonemes without explicit instruction”, Applied Psycholinguistics:

"There were three classes of predicted knowledge sources: (a) induced sublexical relations (i.e., induction of orthographic–phonological relations from the experience of print words), (b) acrophones from letter names, and (c) transfer from spelling experience."

That the Greek "A" is "alpha" and the Hebrew A is "alef" shows that A is provided with a name that begins with its Letter. "Alpha" and "alef" are each acrophones for the Letter A. English is unique in that the Letters retain pure values are not provided with "acrophones". In metaphysical analysis, we call this condition "purity" - the letters are not "corrupted" with any additional letters through the concept of assigning a name to the letter.

The "name" of the Letter is the "acrophone".

In Qaballa, our focus is primarily on the study of names and letters, and so we may then expand our analysis into the name itself.

Gimmel (Hebrew), which has an esoteric equivalency of "camel", makes sense when we realize that what is being encoded is the X:Y plot of the Sun over time to reveal a Winter and Summer Solstice, and thus the "humps" of the camel are as a representation of this X:Y axis plot.

This analysis returns us back to a rational comprehension of "the Word", which is defined as "Pi". The letter BEIT reveals underlying numbers of 25920 (B=2, E=5, I=9, T=20). BEIT, given a code of "the House", reveals a "Goddess" number in that 25920 is the co-relational circumference in time of the Great Year of Plato, or 25,920 years, returning us to an idea that Earth itself is "the home" or "house".

PI reveals 16 and 9, or the first two numbers of the Golden Triangle of Pythagorus, or the 3:4:5 Triangle in that 3 squared is 9 and 4 squared is 16, and its sum becomes the Letter Y, which is as (but not technically) an "acrophone" of the question WHY. Since the Letter W is 23, H is the Greek Letter Pi, and Y is clear, we may use the number 23 co-relationally to reveal 3 to the power of 2 (squared) to reveal 9, H as Pi is P is 16, and Y is 25.

The Letter Y, comprised of glyphs for Male as I and Female "V" reveals this inherent construction. WHY is as an "acrophone", or name, for the same said formula.

In this way was the philosophic construction in the words crafted.

There is inherent value and benefit, then, in the analysis of the names given to various letters. However, this same said analysis can and should be extended to all glyphs, said glyphs to include astrological signs and of course, "Numbers".

After all, why should we not assume some inherent encoded knowledge set into the names that then comprise and enunciate the numbers?

Herein is an analysis into the "acrophonic nature of Numbers" as viewed within the Isisian Codes.

The Acrophonic Nature of Numbers

Since "numbers" do not have any alphabetic value as, say, the Letter A to form Alpha or the Letter B to form Beta, we then extend the principles of "acrophonic" analysis as set to Letters and apply the same to the numbers. Hence "the acrophonic nature of Numbers" is simply the analysis of the "names" that comprise the Numbers.

The Number "1"

"1", in English, is enunciated as WON (wun), but spelled as ONE. We can assume some mythical etymological construction, say, that the O in "one", enunciated with a W, is akin to French "oui", which is roughly pronounced as "we". Or, we can invoke a metaphysical rational to the construction of the word and sound sets. This, in retrospect, actually makes far more rational sense. Nothing is as it appears.

To begin, "1" as "ONE", but pronounced as WON, implies a form of "victory" or pre-eminence. The letter W and N return us to W and D, to invoke WODEN, or the "one eye'd god", which then is the Letter A in design.

We set back the "ONE" to its reference point of T as Winter Solstice, and from here we see the WNter manifest. This ONE, then, is Osiris and hence it is OSIRIS that is "the One True God", to steal from Judeao-Christian mythologies and return them to their source.

Since we see an epic battle between "the One" as Osiris and "the one" as Seth, we may reverse the ONE to reveal the Letter EN O, or the word NO, implying that the opposite "ONE" is not "the One" but is, indeed, the "imposter".

Since there are technically two "self evident "1"s, as in the Letter A as Osiris and the Letter I as Jehovah/Typhon/Seth, we then note that the word for NO in German is "nein", or "NINE", which is then the Letter I.

A is Aye is 1 is Yes
I is NEIN is 9 is NO

Seek after that which is beneficial (Osiris) and turn from that which is "detrimentnal", or Jehovah/Typhon/Seth.

The Number "2"

The Number 2 has as its name the word TWO.

This word is so rich in symbolic transpositions that it has been provided its own article in "The OWL as a Symbol of the Occult", one of the most popular of all articles at the Illuminatus Observor.

It is not possible to search Google for "OWL" and "Occult" in same search criteria and not be directed to the Owl as a Symbol of the Occult.  Such is the articles popularity.

There is just too much in the word OWL for an article of this nature, so one should read the article "Owl as a Symbol of the Occult" for a comprehensive insight into this Construction.

In brief, we can show the following:

The Occult symbol for the Sun is of a circle with a dot in the center.  We may view thedot as the Sun and the circle as the orbit of the Earth around same.  If we draw a line through the center to create a diameter, our start point is "0", the center point would be "1", and the end point would be "2".

TWO shows, then, in reverse, 0 as "zero", W as "won" or "one", and T as "two".

Since we are dealing with a Pi Proportion concept, we note that W is 23, which sums to 276, and T is 20, which sums to 210.  The O is Pi (the circle), thus the code is, again in reverse, that PI, the Circle (O), is equal to W/T (276/210), or 1.31428571.

Pi as (O)=W/T

Since "L's" are "fallen "T's", we cipher the T of TWO to an L to reveal LWO, or its reverse, the OWL.

Since the 1 and the O as the OWL (Feminine) are inherently interconnected, meaning that the diameter as 1 cannot exist without its circumference, and since the T is an N and a D equally, the TWO ciphers as NWO, which then is an anagram of WON (ONE).

This provides a small sampling of the OWL as a symbol of the TWO and as such, the Goddess as being the primary fount for the Occult.

The Number "3"

In the word THREE, we may derive a couple insightful relations.

When reversed, the number THREE reveals EER(TH), which, of course, is the position of EARTH from the SUN (Mercury and Venus preceding). From this sequence, we find such anagrammic plays as "HEART", HEAR and HERE, and when PI (H) is removed, the vertical concept known as a TREE.

A TREE, of course, gives us a TRIANGLE in that the Earth is as the horizontal, the TREE the vertical, and the shadow the "hypotenuse".

The Number "4"

The number "4" is deceptive in that it may be drawn two ways.  One is to make the connection between the horizontal and vertical connected via a diagonal, while the other is to simply draw a vertical line from the top of the glyph point to the base of the horizontal as shown in the below example.

Indeed, as we were taught, fours were made first with a perpendicular line emanating from the left end of the horizontal line, with the diagonal being a "more sophisticated" way of showing the number.



The word FOUR, however, supports the perpendicular line from the left end point of the horizontal as being the more accurate form of the design set against the word.

The reason is, Qaballistically, simple.

From the Popul Vuh,

"It is not well what our creatures, our works say; they know all, the large and the small," they said. And so the Forefathers held counsel again. "What shall we do with them now? Let their sight reach only to that which is near; let them see only a little of the face of the earth!"

To put this more simply: the works as symbols are but two dimensional representations of 3 or more dimensional objects or concepts.  Letters and words contain partial formulas and then there is a logic and reasoning required to complete the encoded formula.

Example: VENUS shows that VE is 225 and NUS is SUN in reverse.

If we are to add the words as VENUS as 22+5+14+21+19 = 81, we fail to see far enough into the design of the Construct.  The word is clearly telling us that VE is 225 and since 225 is the number of days for the synodic orbit of Venus, to adopt simple gematria to the design is akin to us "seeing near" and "not far".  The same hold true to symbols.  Symbols may show a partial area of the whole design.

In the case of the number "4" when made with an "open top", we note that the design is partial to this:

Now the word FOUR makes sense.  It is clearly saying that FOUR is OUR F.

Our F is 4, meaning that F*F*F*F*4 totals 12,960 years, which is the LIFE, which is the co-relational diameter in time of the Precession of the Sun through the Equinoxes.

When set back against the Construct, 4 represents the spinning top which is then ciphered as a "dreidle" or a "spinning cube".

The "swastika", of FOUR (OUR F) is as the top of the dreidle.  As it spins, it wobbles.  This wobble is then set against an observation of the firmament as it appears to spin around the sky from the eye of the observer while standing on the seemingly stationary "flat earth".

For a more in depth analysis of the Letter F as FOUR, see the article "F and V, the Swastika and the Dreidle" here at the Illuminatus Observor.

The Number "5"
Nowhere is the seeming confusion on Occult coding more pronounced than in the numbers/letters 5/6, or E/F. Each glyph, be it 5/6 or EF, shows design parallels. If we were to enclose the round loop at the base of the 5, it would surely appear as course 6, and if were to retrace the 6 and leave the base of the circle open as a 5, then the 6 would appear as a crude and rapid drawn 5.

The 5 contained elements of the T in the design, so we may assume that the design of the 5 is a composite glyph of two different ideas.

No. I do not have any direct insights as to how this might be so.

The WORD FIVE is deceptive.

The root is purely derived from the labials F and V, each showing models of hardness and softness. Within the Isisian Codes, the labials of F and V are located at column number 6.

If we were to assume that FiVe is "5", we may then sum the value of 1:5 to arrive at 15, or the O letter, which too is 6.

That 5=6 lies at the very core, or center, of the Luciferian way of encoding.  Each of these Letters/Numbers are interchangeable, and often the "5's" are really crypted "6's".

Thus the design of "5 fingers" and "5 toes" creates two pair of 5's.  Yet as cryptic "6's", "5" x "5" fingers for each pair of hands really is viewed as "6" x "6".  So, with 4 limbs, we have 6*6*6*6, or the number 1296, a fractal of the 12960, or the word LIFE.

Geometrically, the relationship of 5:6 reminds us to insert the Pentacle into the Hexagon, as shown above.  In this way we are able to properly create "the Garden of Eden" as a Qaballistic path construct.

It also should be considered that "FV" as "6" is really the "FaVorite" number of the Luciferian system, for ultimately it is all based on the 6, 66, 666, and 6666.

If you pay careful attention to the Construct, Jehovian systems will also include the "66666".

This construction hints clearly at the deception and the error, creating a form of "colel shift" (adding of 1 additional 6) in the string of 6's.

The Number "6"


The word SIX is a relatively easy code to see, for it is comprised of the the Roman number IX, which is 9.  If we spin the "6" on its axis 180 degrees, the 6 becomes a 9.  You cannot have a SIX without a 9, and conversely, you cannot have a 6 without a 9.  When you view the 6, you are seeing but 1/2 of the total archetype.

If you fail to see the totality of the archetype, we then would say that you are as in the Popul Vuh: you see near and cannot see far.  If you could see further, you would see that 6 is but 1/2 of what is visible.  You clearly cannot have a SIX without a 9.

If you think so, then try to spell the word SIX without the 9.  How do you remove the "IX", or "9", from SIX?  Such is the genius of the Luciferian Code as it has been woven into the language.  There are hidden truths at every turn.

If we spin the word SIX, we get the code of X is, or X's.

The Letter X is located at position 11 of the second half of the Alphabet.  Each "1" is a "6", and so the SUM of 1:11 is 66.

As SIX, we find that S is located at number 3.  Since we must return the system to its core construction, we simply sum from 1:3 to arrive at 6, which, when intoned, includes the IX, which is 9.  In a system predicated on Pi, we view the WORD (Alphabet) as a form of ORDER out of chaos, and so we see that the creation of a "pre-FIX", which "that which preceded a word", is really an overt acroamatic code that says, "That which becomes before (pre) the Word" is the FIX.

In this representation, the message seems to be overtly clear - solve for the archetype of the 6.  From where does it draw its primary inspiration?  We put forward the idea that the inspiration is from the Spiral Galaxy, for before there can be any order out of chaos, we must first find order.  It is in the spiral galaxy that we find order.  It is from this order that LIFE is able to take root and grow.

If you are clever and intuitive, you will come to understand that the spell (code or formula) is incredibly binding and solid, and the rationalism so acute and clear as to become philosophically genius.

The Number 7


Somewhere I was informed that "7" is the number of "Z's", wherein Z's is inferred to be sleep.  It is often said that "mankind is asleep", and in many respects, from politics to general awareness of Occult force that stirs around them, this statement is really not far from the truth.

The design relationship of "7" to "Z" is clear, with the 7 sharing a form of "spinning on its axis" as 6 is to 9.

But the word SEVEN is really a genius display of Qaballistic acumen.

Here is how.

The Luciferian (Osirian/Isis) uses a system based on the 26, and not the 22.  This is clearly described in Higgins work, "The Beginnings of Freemasonry", on page 32 of the text, where he says,

"This system was really based on a 26-letter alphabet..."

For a system to be based on Pi, the need for a 26 digit alphabet is simple.  That Earth has a 52 week cycle (orbit), combined with a 26 digit alphabet, it is possible to encode Pi in myriads of representations.  When further fused to a philosophical Construction, the transmission of core truths over space and time become quite literal and possible, and none more ingenious than the encoding of these truths into the ultimate "Universal Language", which is now known as "English".

If we divide the Alphabet in half, we arrive at the digits 13 on the left and 14 (M/N) on the right.  This is the first representation of Pi.

The Letter M we now divide into its constituent components.

M = I V I

We then reorder the sequence.

M = I V I = V II

VII = S-EVE-N

We then read this in reverse.

II is PI is ADM is 1413, while V reversed is EVE, or 666.

Pi and 666.

In the word SEVEN, we can clearly see that the center is EVE, and so we keep this and then reorder the SN to for 3.14.

S-EVE-N is a literary cipher for the larger archetype within the Letter M.

S-EVE-N is critical because if we divide the alphabet again (the first division being at 13/14), we arrive at the Letter G and T.  The play on words pun is "If you GOT it, do you "have" it?", wherein HAVE is but a phonetic play equally on HALVE it.

If you "GOT IT" do you HALVE IT?

The answer is of course, YES.  If you G-T it, you must "halve it", twice: first at MN, and then divide each half respectively to arrive at G and T.

S-EVE-N is simply showing the relationship of PI and 666 as the core numbers, and then showing again further how this division is set against "the 7", or placing the T's and G's at the marking points of the Solstices and Equinoxes and then numbering the first full day of these events as "the 22" day, which then creates the double cipher wheel (the first the Alphabet, the second the Calendar) of 22 day over the 7 letter, or 22/7=3.14285714, which is a reciprocal 7 representation of Pi.

The Number "8"


Of course, I am familiar with the myriads of occult significances attached to the numbers.  I would certainly not claim to be a pre-eminent expert, for I do not deal in "numerology", but rather, "gematria".

From a purely "gematria" perception, to date the Number 8 (EIGHT) eludes me.

We see the relationship of EIGHT to HEIGHT, wherein EIGHT removes PI (H).

Unfortunately, and in keeping with particular mandates imposed upon me, I cannot release any information for which I do not have some corroborating or substantiating insights.  In spite of numerous efforts to penetrate this word, EIGHT still eludes.

Do we break EIGHT into a formula?

E is IG and HT?

E, or Pi, would then be IG (13) and HT would be H=8=36 and T would be 4, to reveal 360 degrees.

I am just not so sure...

The Number "9"

"NINE" as a word presents us with an interesting dilemma.  From the ORION/INRI/ZION matrix, we find NIN clearly present, and indeed we can find the ZIRO equally.  We cannot assume that such is not part of the design and not merely coincidental.  Indeed, we can form many of our numbers from this matrix.

NINE appears to be playing off the ONE.

NI = 14+1 = 15 = O
NE = NE

(NI)NE
(O)NE

As discussed in the small treatise on the ONE, the opposite of 1 in a system of 1-9 is 9, wherein 9 is I is 1, while A is 1 is 1. In this case, we know that A is assigned to Osiris, while I is assigned to Jehovah/Typhon/Seth. Nein is Nine is NO.

From another perspective, we can remove the NINE as being a construct of Jehovah/Typhon/Seth, and in its place work with the 1 and the 0. N as EN is 1 (first letter of the second half of the Alphabet). 9 as NINE, when reversed, would read EN IN, wherein IN is a descriptor for the relationship of 1 to 0.

The 1 (N) is inside the 0 (N+I).

The Number 10

The word TEN is fairly simple. T's are D's. TEN = DEN = END. In a sequence of 0-9, 10 (TEN) represents the beginning of a new sequence and equally signifies that the previous sequence has "END'd", or "TEN'd".

Obvously, this article has been an informal immersion into a Qaballistic analysis of numbers. It has sought to provide some informal musings on the very names (acrophones of a sort) for the numbers.

For a further inquiry into Occult significances of numbers, you may consult your local Internet Search Engine.

Saturday, May 15, 2010

Demystifying the "Book of Lies"

The "Book of Lies" was released by Aleister Crowley in 1913. It contains a wealth of Hermetic Qaballa axioms and demonstrations, confused as was common in the release of "mystical formulas". That Crowley had gleaned from his associations with Freemasonry (officially recognized or not) particular insights through a study of the Craft is admitted (whether truthful or not) by Crowley.

Says Crowley in his personal commentary (page 5),

""...My association with Free Masonry was there-
fore destined to be more fertile that almost any other
study, and that in a way despite itself. A word should
be pertinent with regard to the question of secrecy.
It has become difficult for me to take this matter
very seriously. Knowing what the secret actually is,
I cannot attach much importance to artificial
mysteries. Again, though the secret itself is of such
tremendous import, and though it is so simple that
I could disclose it...in a short paragraph, I might
do so without doing much harm. For it cannot be used
indiscriminately...I have found in practice that the
secret of the O.T.O. cannot be used unworthily...."


This work will address some of the recent naive representations of this work (the Illuminatus Observor) in forums across the Internet through showing source material that demonstrates the techniques that have and were employed into the fabrication of "the Construct". For the serious inquirer and student, this article should assist further the student in understanding how Qaballa as an "artform" has been fabricated and put into service by Initiatory systems.

To assume that the totality follows the "accepted study of language" is both naive and mis-placed. Occult force controls education in a way few can comprehend, and it is naive to assume that this very same education would be dedicated to a release of the means and mannerisms upon which the Occult has been fabricated.

There is nothing more dangerous than the musings of those who know nothing seeking to put their stamp onto things they have neither studies nor do not know...

Deliberate Deceptions

When seeking insights into "mystical" ideas as expressed through Qaballistic expressions, it is best to understand that nothing is as it appears. "Philosopher's" sought to hide their mysteries in such a manner as to conceal the truth, but not to the point of destroying the truth. This effort of concealing and revealing is aeons old, achieved as it has been upon a system based on Letters, Numbers, and Sounds.

From an anonymous author regarding the Hermetic Arcanum we find,

Let the studious Reader have a care of the manifold significations of words, for by deceitful windings, and doubtful, yea contrary speeches (as it should seem), Philosophers wrote their mysteries, with a desire of veiling and hiding, yet not of sophisticating or destroying the truth; and though their writings abound with ambiguous and equivocal words; yet about none do they more contend than in hiding their Golden Branch.

One cannot assume (including this work) that the secretions are based wholly on foundations which one may attribute as to "the Truth", but through a study of this and various philosophical material, one may, through conscious effort, surely arrive at same.

What separates this Work from others is that it is purely dedicated to a revelation of this particular Philosophy of the Ancients, and hence a study of the various secretions through time we seek to shed light on the totality of this Construct.

An analysis of the Book of Lies by Crowley, himself clearly having come to understand some of the Mysteries, enables a particular adumbration of Lies based on truths to reveal further this higher esoteric science.

Commentary on Passages in the "Book of Lies"

402967499_6a770ea406.jpg (500×333)
The Abyss
                   The Word is broken up.
                   There is Knowledge.
                   Knowledge is Relation.
                   These fragments are Creation.
                   The broken manifests Light.
Crowley, Book of Lies

Words are adumbrations of Truth. If one is to comprehend the nature of the Construct, one must carefully comprehend the manifold nature of Words. Says Plutarch,

Hence it is an excellent saying current among philosophers that they that have not learned to interpret rightly the sense of words are wont to bungle their actions.

Words are broken up. They are not linear formulas which are to be viewed as if in a straight line. The "Truth" is as the Sun. One may glimpse it, but one may not stare directly into it. The brightness of the truth is such that to gaze for long upon it forces one to go blind. Truth may only be long glimpsed through the reflections and shadows that make up the material world.

What hides "the Truth" from "reality" is a force known as "the Occult". It is in and through the Occult that one is able to accurately glimpse and comprehend "the Truth".

Words are "broken up". In the idea that "Words are broken up" there is Knowledge. Knowledge is Relation. Letters relate to ideas and so words place ideas in relation to each other. Understanding the relations leads one to glimpse "the Truth". What then, hides "the Truth" but the night and the CLOUDS?

CLOUDS hide the Truth, for CLOUDS hide the SUN. C is the glyph of "occultation". LOUD is self evident. LOUD implies "all encompassing", or "drowning out" the sound of others. But a CLOUD is SILENT, an inverse duplicity. CLOUDS imply that the C is LOUD. There is a relation, for LOUD is clearly the inverse of SILENCE. SILENCE is SILENE, the name of Isis when invoking the Goddess of the Moon.

Still. Words are broken up. This takes on the form of the anagram.

CLOUD = OCULD

CLOUDS = OCCULT

It is the Occult that hides the SUN (Truth). Through clouds we may see the many manifestations of light of the SUN. Herein is how the conceptual begins to weave its way into the Mysteries.

SUN is "broken up". S is 3, U is 6, and N is 5. It is a code for 365 days.

Is this not "the Truth" in its own encoded way?

Life and Death are two names of A.


"A" is "the Pyramid Letter". It is Osiris. It is "the Sun". It has "died", and has left the domain the "Earth", and yet it gives "Life". This "removal from Earth" is equivalent to it being "gone". Now understand the HEX-A-GON. The PENT-A-GON, and so forth. At the Winter Solstice, our traditions surrounding the Winter Solstice include the drinking of EGG NOG. The Egg is the Sun. It has "died", to be resurrected "3 days hence" at the Winter Solstice. The Egg is GONE.

So we drink in remembrance of this event. This drink is called EGG NOG.

PEACHES
Soft and hollow, how thou dost overcome the hard
and full!
It dies, it gives itself; to Thee is the fruit!
Be thou the Bride; thou shalt be the Mother here-
after.
To all impressions thus. Let them not overcome thee;
yet let them breed within thee. The least of the
impressions, come to its perfection, is Pan.
Receive a thousand lovers; thou shalt bear but One
Child.
This child shall be the heir of Fate the Father.


The allusion to sexual intercourse is clear. Yet we return again to the Letters. Why PEACHES? Words are "broken up". PE (P) is the masculine. ACHES is the "act". PEACHES denote the state of P upon completion of the sexual act. Therefore, the clarity of P as being of the masculine by design is clear and so the word PEACHES denotes a fruit that is "ripe" or "ready to be harvested" once it has "softened".

P is the Male. O is the Female.

Set back against the Isisian Codes, the A is the Male is the 1, while the B is the profile of the pregnant woman is the 2. Reversed on a pattern set against the Pole of A-P, P is the 1, while the O letter is the Feminine is the 2.

Said Elton John and Bernie Taupin -

"Rotten peaches, rotting in the Sun. Seems I've seen that DEVILS FRUIT since the world begun.."

All things are in harmony against the design of the Construct. We may view ideas forwards and backwards and all things remain clear and "true".

CAVIAR

The Word was uttered: the One exploded into one
thousand million worlds.
Each world contained a thousand million spheres.
Each sphere contained a thousand million planes.
Each plane contained a thousand million stars.
Each star contained a many thousand million things.
Of these the reasoner took six, and, preening, said:
This is the One and the All.
These six the Adept harmonised, and said: This is the
Heart of the One and the All.
These six were destroyed by the Master of the
Temple; and he spake not.
The Ash thereof was burnt up by the Magus into
The Word.
Of all this did the Ipsissimus know Nothing.

CAVIAR is the Egg. The one (Goddess) lays the million eggs, and from these millions come millions upon millions. Here we see the preference of the OTO and Crowley to the house of division, or the "Star of David", itself a code for division, or D-IVI-D. Here is the Hexagon, or the Q'b, wherein the Q is the fertilized egg.

The Q'b, as embodied by the Dreidle, represents individual life. It spins for its alloted period of time and then collapses back into the Earth. This is the SIX, where 1 is 6 as set against the throw of the Di. Di and Die are but the same, a duality set into a singularity.

CAVIAR is a KEY.

C? The A is 1 and the V is 6. It denotes the individual equally. I am. You ARe.

C-AV-I-AR

The Heart of the 6 is the 6 of the Tarot. It is the Lovers, or the Sign of Pi. The HEART is PI. The very word HEART reminds us of this.

HEART = 884 + 6*6*6*6*20 + 6*6*6*6*20 + 6*6*6*6*20 + 6*6*6*10 + 6*6*6*10 + 6*6*6*10 = 85124 = HEART

Understand clear the co-relation of numbers and their manifold use.

6*6*6*6*20 = 1 full revolution of the Earth on its axis (1 Great Year). Thus we have 3 "Great Years" caste.

6*6*6*10 = 1/12 of one Great Year. Thus 3/12 of a Great Year = 1/4 of a Great Year

3 1/4 returns you to a co-relational representation of Pi for the numbers are designed co-relationally.

Now reverse the IPSISSIMUS - the SUM of ISIS (36) is Pi (666)

Understand how this is so and watch your knowledge grow...

Let me know if you wish more in this vein of expression...

Wednesday, May 12, 2010

The "Avatar" as a Qaballistic Construction

As I was flying back from Riyadh to Amman the other day, I logged into the Royal Jordanian "in seat" entertainment center (not bad of a service really - not as good as "Song" in the United States, but still a good service).  Clicking through the menu to my my favorite category of movies (Action), I was surprised to find among the list the recently released movie "Avatar".

So shortly after the pre-flight safety demonstration, and before the flight had taken to the air, I put the headphones on and settled in to watch the movie.

A bit of a slow starting flick, if you ask me, but once it got going, I found the storyline quite fascinating.

I always like a good Qaballa flick, and this is one of the better ones going.

A "qaballa flick" you say?  Sure.  And if you know your "Occult roots", penetrating through Qaballa and other Occult symbolism is really not such a difficult exercise.

With this article, we will attempt to move you from the branches of the tree (you know, the ones that are "sacrificed" at the end of each seasonal year), and move your understanding to that of the "trunk" and the "roots" of the Tree.

"Satan's Tree"

One of the "geometric Golden Branches" of the Illuminatus System remains "the rabbinical Tree of Life".  Really, a "Tree of Death" in that it represents "mortal life", elaborate meditation rituals have been caste in order to utilize the "Tree of Life" as a means to attain altered, or "elevated", states of awareness.

In other Occult systems, as in Asatru or Buddhist sects, various meditations are invoked to achieve the same goal as is assigned to the "Tree of Life".

The idea relative to Kabballah meditations is that if you pass through "Kether", the "crown", you will enter into what is, essentially, the "astral world" where you are able to partake of knowledge and experiences wholly beyond the physical world.

We can hear adumbrations of this concept reflected in various works of the musical arts.  The song "Katmandu", by Cat Stevens, for instance, intones the line,

"Chop me some broken wood 
We'll start a fire
White warm light the dawn
And help me see
Old Satan's tree" 



Katmandu, the capital of Tibet, is high up in the mountains and is regarded as one of the more spiritual places on Earth.  Bob Seger would wax about the places he had been throughout the United States, but when it was all said and done, he stated

"That's why I'm going to Katmandu
Up to the mountains where I'm going to. 
If i ever get out of here, 
That's what I'm gonna do." 



Ian Anderson of Jethro Tull would use the Eastern norm of presentation in his work called "Circular Breathing",

"Pick up my wings and fly 
into a Constable sky...


"Suspended in spiral sounds - 
Sounds of circular breathing. 
I'm a kite on a silver thread. 
Daring lightning to strike me dead...

Matchbox cityscape below - 
I watch Lowry matchstick figures go. 
Caught in the timeless flow of discreet silence."


In motion pictures, there are two movies that did a very good job of hinting at this this paradigm of learning through astral projection or of entering into altered states or even visiting other worlds (as in Avatar), and these are the movies "Matrix Reloaded" (the series really) and, of course, Avatar.  Each of these movies hint at parallel realities, one occurring in a dream-like state, and the other "the waking state".

In a scene from the Matrix Reloaded, we see "the Keymaker" (keys being intricate to ciphers) describing how to enter "the Matrix":

Keymaker:

There is a building.  Inside this building, there is a level where no elevator can go, that no stair can reach.  This level is filled with doors.  These doors lead to many places, hidden places.  But one door is special.  It leads to the Source.


This is a near direct reference to Qaballistic techniques of seeking out through astral working the very core roots of the Letters as an Occult construct.

Equally, the idea of a "waking state" and a wholly real alternate reality induced through the "dream state" is found in both Avatar and the Matrix Reloaded. Whereas the Matrix Reloaded achieves this demonstration through a "plugging in" of the characters and a subsequent immersion into a alternative and very real "waking state", the Avatar achieves this through a submersion of the characters into a scientifically fused alternate body known as "the Avatar".

Each alternate reality is brought about by an induced state in the same manner as a ritualized meditation that are a part of the traditional Qaballistic Arts. As the meditative state ends via the end of "sleep" as brought about in the Avatar, the induced state body "sleeps" or, as in the case of the Matrix, the induced body returns to the waking state body and disappears from the altered existence "waking state".

I know I hung on that windswept tree,
Swung there for nine long nights,
Wounded by my own blade,
Bloodied for Odin,
Myself an offering to myself:
Bound to the tree
That no man knows
Whither the roots of it run.

None gave me bread,
None gave me drink.
Down to the deepest depths I peered
Until I spied the Runes.
With a roaring cry I seized them up,
Then dizzy and fainting, I fell.

The Speech of the High One, taken from the Poetic Edda.

A Qaballistic De-construction of "AVATAR"

The movie "Avatar" provides us with a wealth of Qaballistic imagery, but if we are to de-construct Avatar from a Qaballistic perception, we focus first upon the very word itself, or "AVATAR".

The word AVATAR presents us with two distinct halves: AVA and TAR. AVA is unique in that it presents us with a "palindrome" in that the letters and subsequent numbers are written the same "forward and backward".

A=1
V=22
A=1

This is important due to a core held Occult belief, or that of "the material world" and that of "the spiritual world". This archetype gets broken down further into a fight against "good" and "evil" in that "LIFE" is viewed as "good" and its reverse, "EVIL" is viewed as "bad". In a Qaballistic sense, words may be interpreted such that what is "forward" (read naturally) is "good" and what is read in reverse is "evil".

From an English Qaballa perspective, this principle draws its inspiration from the Book of Formation, or "Sepher Yetzirah",

"These (twenty-two)letters, which are the foundation of all things, He arranged as upon a sphere with two hundred and thirty-one gates, and the sphere may be rotated forward or backward, whether for good or for evil; from the good comes true pleasure, from evil nought but torment."

In an Osirian representation, these "Letters" are read from "left to right" (to return one back to the Garden of Eden), while in a Setianist system, these "Letters" are read from "Right to Left" (or to remove oneself further from what is "right", thus "exiting" or "leaving - left" the Garden of Eden.

We view this through an analysis of "the Master Number".

The Master Number (11:11 or 11011) is encoded many ways. The first, and paramount, is that of the "Ace, Jack, and King", or AJK. A is the 1 letter, J is the 10 letter, while K is the 11 letter. AJK = 11 = 11011. The sums of these letters, however, reveal the following:

A = 1 = 1
J = 10 = 55
K = 11 = 66

1+55+66 = 122, or, when set back against the Letters, A is 1 and 22 is V.

122 = AV

The number 122, or AV, is a code for LIFE, for we know that the Master Number, 11011, is a code for 12960 years, or the underlying numbers to the Letter LIF(e). However, it holds that the sums of the digits 1+55+66 = 122 (AJK = 1+55+66) and therefore 122 is but another digit to express the same core letters of AJK.

These letters and digits (AV = 122) are important when we hail back to universal mythology. From the Japanese tale of Amaterasu, we read of the following,

"When the sun goddess concealed herself, the world was plunged into darkness, plants stopped growing, and all activities came to a halt. Desperate for Amaterasu's return, 800 gods gathered to discuss ways of getting her to leave the cave. A wise god named Omori-kane proposed a solution.

"The gods hung a mirror on the branches of a tree outside the cave. Then they had a young goddess named Ama-no-uzume dance to music while they laughed loudly. Amaterasu heard the noise and wondered what was happening. Opening the door to the cave a little, she asked why the gods were so happy. They told her that they were celebrating because they had found a goddess superior to her."



Curious at who this goddess might be, Amaterasu opened the door wider to look and saw her own image in the mirror. When she paused to gaze at her reflection, a god hiding nearby pulled her completely out of the cave. Another god then blocked the entrance with a magic rope. After Amaterasu emerged from the cave, her light shone once again, and life returned to normal. To punish Susano-รด for his actions, the gods banished him from heaven."

To this day, the mirror (a symbol of purity), along with a necklace and a sword, remain Imperial Japanese symbols and are kept in the inner sanctuary of Shinto shrines.

A necklace, mirror and sword are still the Japanese imperial symbols, kept in an inner sanctuary of Shinto shrines.

Why is all of this important still?  Aside from Amaterasu's shrine being located at "Ise" (Isis), we have in play another Qaballistic construction.

M = OM = PI = 1 and 0, etc.,
IRR = 122 (Isisian Code) = LIFE
OR = Suffix

M-122 -OR = M-IRR-OR

The M-IRR-OR, Pi and Life, represents "Purity".

Since AV is a code set for LIFe, its opposite 221 (VA) becomes a construction of "anti-Life", or that which is opposed to "the Goddess".  VA(MPIRE) is one such word.  VA(HALLA), or "the Hall of the Dead", is but another, while words as VACANCY (VA CAN'T SEE) denotes that which is "empty" or "void of Life".

All this "conjecture" is but one way we may begin a Qaballistic deconstruction.

To you who are familiar with the workings of the Occult, you perhaps are already beginning to see the relationship of "the MIRROR" to the Hermetic idea of Macroprosupus, or to the Hermetic maxim, "As above, so below".

Further, the digit 122 is derived from the A as 1 (a mirror of itself), the J (10), which forms the mirror 55 (5 mirrored on itself), and the K as 11, itself a mirror, which, when summed, creates the mirror of 66, or 6 mirrored on itself.  Even further, the "K" may be viewed as a two dimensional representation of a "mirror" in that the vertical is as the mirror and the "V" emanating into the vertical would be as the line of sight as on peers into the mirror and is reflected back out.

In Gnostic perceptions, what is "below" could also be viewed as "the Demiurge", while what is "above" is viewed as that of "purity".  Thus to be "mired" into a particular set of circumstances is as to be "mirrored" from a state of what is above through which "the Mirror", representing Purity (Pi and Life) would enable the one "mired' to, as Amaterasu, to escape from the darkness and enter back into the purity of the Sun.

All of this is quite difficult to express and explain, but I hope and trust that some will begin to see the conceptual connections, and yet there is far more to go to a Qaballistic breakdown of the word AVATAR.

AVATAR and the Letter K

The word AVATAR also hints at another core Occult construct. This construct deals with the inherent value (archetypal) of the Letter K. This is best demonstrated through an analysis of Egyptian mythology.

The "Ka" of the Egpyptians has many interpretations, but at its most basic element, is viewed as "the etheric double", or "astral body". It is in the term "double" that we find the construction of the Ka as "the Letter K". As the Ka (Kay) is borne, its double 11 = 66 is born at the same time.

Although Egyptian mysticism attributes to the Egyptians a desire for the Ka to remain at the body of the deceased and partake of offerings made to same, in our Western construct, and especially as the Letter Kay (the Ka) is incorporated into Qaballistic constructions, it is simplest to equate to the Ka that of purely the "etheric double".

In Western constructions, we may then view this conceptually. The body may be viewed as that which may be seen. The Ka (Kay) is linked directly to the "body" but which, for all intents and purposes, is "dead" in that it "cannot be seen".

The body is incarnate. The Ka is "disincarnate".

The Ka, however, maintains on a disincarnate level, all the mental, intellectual, and physical attributes of the incarnate spirit.

What is SEEN is AV -
What is NOT SEEN is VA -

Now we may begin to Qaballistically peer into the construction of an AVA-tar.

In the movie "Avatar", through an induced state, the character Jake Scully is able to leave his physical body and is able to exist in a virtual double body as represented by the scientifically generated "Avatar". This archetype is but a representation of the Letter K, or the Ka. The same process is accomplished in the Matrix film series.

In this way, elements of the movie "Avatar" become but an acroamatic cipher for the Letter K, while the very name AVATAR is a Qaballistic construction of the very same "Letter", while it could also be noted that the Cirque de Soleil production "Ka" was billed as a "gravity defying" production that took "adventure to an all new level."

Final Qaballistic Analysis of "Avatar"


From here, the Qaballistic deconstruction of the archetypes within the the movie Avatar spins rapidly into degrees of Occult polarities set against the Philosopher's Stone.

We view the Rabbinical Tree of Life as being that which is "carnate" or "material life", as that of the Rabbinical Tree, while that which is "incarnate", or "spiritual", as being that of the Garden of Eden. In the movie Avatar, we are dealing with two "material realities", but from the point of view of the main character as represented by Jake Scully, the material world within which he lives is quite different from that of the virtual world within which he is able to dwell equally.

Projection into his "Avatar" is as an astal projection to another world, whereas his return from this "projected state" returns him to his paraplegic self.

He is projected to an alien race called the "N'avi". The N'avi dwell "in the Mother Tree", which from an Occult perspective, would be viewed traditionally as "the Tree of Life". The "N'avi", although they "do not fly" directly, nonetheless dwell in a place where birds typically do, or a "tree". Thus the "N'avi' are akin to living in an "aviary", or what is to Jake Scully "a land of birds" in that he is able to project out of his body (fly) and exist with the N'avi in their "dwelling".

The idea put forward is that the N'avi live in a virtual "Garden of Eden" where the connection of the N'avi to their planetary existence is absolute. Their "Tree" would follow Setianist representations of what life is like as one meditates and contemplates on "Kabballah" in an effort to return oneself to a knowing of "God".

The Earth "invaders" have discovered a precious "material", or metal, that can only be acquired through a "chopping down" of the Kabballistic Tree. In this sense, the Earth invaders, largely Setianist in nature, care little for the beauty that is within the Tree and would rather destroy the Tree in order to mine the riches that exist below the Tree.

The Tree is "gnarled", its trunk taking the form of a whirling mass, akin to Cancer upon which the Dreidle of the Setianists, spins. The Tree is destroyed, and a battle ensues for the remaining scraps of what has been left after the destruction of the Tree.

From a Hermetic Qaballistic perspective, those that dwell in the Tree are as the invading Setianist Earth invaders, but they are caste as those who exist outside of the Tree. In a Hermetic perspective, in order to mine the riches of the Philosopher Stone, it is necessary to destroy the Tree so that we may arrive back to the Garden of Eden, for the "Flaming Sword and Cherub" is the Dreidle that guards the way to the Garden of Eden.

In the film Avatar, there is a sympathy for those that dwell within the Tree as being that which is "good" and in harmony with their environment, but as the archetypes spin rapidly, turning 1's into 0's and 0's into 1's, while is real Kabballistic reality, there is no sympathy, per se, for those that dwell in the Tree for those that dwell in the Tree have the same mannerism and tactics as the invading Earthlings who do not dwell in the Tree but are seeking to mine the riches that lie below the Tree.

At the end, the battle is waged to protect the riches of the Philosopher's Stone by denying the Setianist "Tree Dwellers" who do not live in the Tree (but really do) from benefiting from the riches that lie in the Garden of Eden once the Tree has been chopped down and full beauty of the Garden of Eden is laid bare for all to see.

The Avatar, indeed, provides a rich environment for Qaballist musings and de-constructions.

Thursday, May 6, 2010

"Decoded" Casting Call - Poll

Last November, I received an email from an long time online friend and reader.  The contents of the email was that the History Channel is contracting out through an independent production company a new show called "Decoded".

The premium show is themed around "Americana conspiracies" of the type that we deal with regularly here at the Illuminatus Observor.

I prepared my application, short 2 minute video as to why I felt I should be considered for the show, and was a click away from sending the application and video to the casting department.  Then I thought - why should I do a two minute video as to why I feel I would be a good fit for this show?  So I stopped the process and forgot about the idea.


Well - I just received a very nice email from someone who is working in some form with the producers for the show.  The email was as follows:



Mr. Fetcho,
While conducting my research, I came across your blog The Illuminatus Observor.  I am working closely with the History Channel in putting together a new show called "Decoded".  I would appreciate if you could take a minute to read the breakdown we have composed to find our third and final host for the show.  Please feel free to call or email me with any questions.  Thank you.

We are looking for a male co-host, ages 35-55 for a premium cable show that focuses on American Conspiracies, Mysteries and Secrets.  Our host should be a "believable believer," someone who can challenge traditional scientific and historical methods. This person should bring a fresh perspective to the audience and the team that will allow the series to take unexpected turns i.e. conversations with numerologists, channelers etc. On the other hand, one of the important qualities that he should possess is the ability to not be simply a believer, but also  "speak with mathematical and scientific authority" and be able to converse with other members of the team on their own terms. We are looking for someone  who can convince our more  traditional hosts to rethink their position. He should also be flexible enough to be convinced that he is wrong at times. Finally the host should be smart, playful, a strong communicator and have a 
good sense of humor.  Advanced Degree a plus.

If you or anyone on your team fits this description and may be interested, please have them contact me as soon as possible.  Also, please feel free to post this on your website or pass this message along to anyone you feel may be appropriate.  Thank you and I hope to hear from you shortly.  

So if anyone of you out there is interested in hosting the show equally, send me an email and I can forward your information to the contact who is recruiting for this position.  

For the record, I have stated my interest in the show, but since you are my audience, I would like to get your feedback.  Please take a moment to a vote in the above poll and let everyone know what you think.