EXALTATION: EDINBURGH

November 11, 2009 by lisapaul1000
DSCN4940

High Street scene, Edinburgh

“For the secret power of the Mysteries is within the signs.  Any person attaining to natural or supernatural states by the process of development, if his heart be untuned and his mind withdrawn from the Divine or human within him, that power becomes a power of evil instead of a power of good.  An unfaithful initiate, in the degree of Mysteries he has attained, is capable, by virtue of his antecedent preparations and processes, of diverting the power to unholy, demoniacal, astral or dangerous uses…” [H.E. Sampson quoted in David V. Barrett, Secret Societies, p. 303, Carroll & Graf Publishers (NY, NY) 2007.]

Edinburgh, October 24-25.  I was quite unprepared for the spell that this city cast upon me during my aptly timed first visit.  In the days leading up to All Hallows Eve (Halloween), the energy was in exaltation, with ghoulish tales and imagery seeking through the cracks of the  old town where I passed my weekend.  The medieval edifices on High Street seemingly intact from their ages ago construction wrapped me in a mysterious lure.  It was like being on a movie set.  As I  have always viewed my adventures as a “film in the making,” how could I have NOT been enthralled!?  Every pub, it seemed, had a plaque relating an idiosyncratic  history something like: “this was the last stop on the way to the gallows.”

Who needs a ghost tour when you can encounter any number of assorted spirits in the antiquated yet exceedingly well preserved pubs dotting High Street!

Yet, this gated city was also a seat of the Enlightenment that managed to fight off both British invaders and the hegemony of the Church.  For I had come to make a pilgrimage to Roslyn Chapel and therefore was prepared to confront the guardians of the Secret Societies to uncode their Mysteries for myself.  It promised to be a significant close to my Black Madonna adventure guided as it was by my investigation into H.P. Garcia’s family lineage.  The ultimate discovery, I sought, in completely this  Sojourn of Truth was guiding me as a critic of the avant-garde making a bid to go mainstream!

This was rolled out before me during my impromptu meeting with Alan Muir, a a retired solicitor and political commentator whose sharp Glasgow humor burst my burgeoning fantasy of penetrating into the hear of the Secret Societies that, at least for me, best characterize this illustrious city, where I might add, I had the better time pub crawling and groovin’ to the local music than any other city I have visited!

We met in an outdoor cafe on the Saturday morning I was on the way to Rosslyn Chapel.  He cheerfully noted, by the way, that I kept referring to my destination as a temple. And so I had to confess that was making the unconscious association with Solomon’s Temple and was on my way to investigating claims that it was built by Masons to replicate the interior design of the Holy of the Holies.  Would would this mean but bringing  a relic of the Sacred Marriage Rites into the Modern Age!

More on that later.  But first, Alan jumped right into the stream of the Black Madonna lore, proving that it is NOT underground in these parts.  He insisted that I immediately go out and purchase The Prime of Miss  Jean Brodie and then told me the short story that its author, Muriel Spark, wrote with the improbable title — Black Madonna!  In this manner, Alan lifted the veil that his adopted city dangles before tourists, scoffing at Secret Societies with a playful glint in his eye as ’schoolboy antics!”  Could there be any other association but location for the Scottish invention of golf, which means, I just learned the night before: “Gentlemen Only, Ladies Forbidden!”  A redundant title if there ever was one!

But Alan is best in his own words.  He handed me an essay that was so apt for BlackMadonna2009, that I asked him if I could publish it.

And here is an excerpt, introduced by Alan himself:

Sugar and Spice?  One of each thanks.  The pendulum has swung from Lady to Ladette (and kept going) AND it ain’t just handbags at dawn!  Solicitor-Advocate and legal commentator, Alan Muir, risks the slings and arrows, or should that be slingbacks and GHD straighteners (?), to consider a worrying, and growing, trend.

When Rudyard Kipling penned, “The female of the species is more deadly than the male,” he was not revealing some long hidden secret nor submitting an application for the Misogynist League.

Before I go any further, please read this caveat:

I, as many know, cannot back New Labour “touchy feely” PC favoured by the “weave in your braid” brigade.  That said, I detest hypocrisy and any forms of abuse, violent or otherwise.

I have written on behalf of, and continue to support, Zero Tolerance and similar organizations, BUT, it is surely time to address one of the darker realities of modern society.  One is the misuse of “sexual equality” on a pick but don’t mix basis.

Society’s do-gooders cannot continue to proffer the argument that equality is all progress and willfully ignore the obvious.  Rates of pay advances, greater opportunity tremendous, BUT, the bad came with the good.  It was just conveniently ignored and grew like a societal cancer.

The concept of “the violent femme” is, as I have written here before, nothing new.  The days that the knife, or more recently, gun, was “only in my handbag for my boyfriend” are long gone.  Boudicca, the Amazons, etc. made way for those like Jessie Mougan (the 19th century Stockbridge baby farmer), Veverley Allett, Karen Matthews, and more recently, the two, possibly three, female sexual abusers of children, the very children left in their care.  Society, as so often, has been slow to recognize an inconvenient truth.  Those of us at the sharp end sit back bemused by the shock/horror press coverage. Frankly folks, “I was ever thus!”

Even as I write this morning, Colorado “mother” Mayumi Heene, has been shown to have been an integral part of the second form of abuse of her son.  The “baloon hoax family” have been burst, deflated and popped by a six year old child’s honesty, or by his failure to stick to the script.  Second — you cry?? Any parent who names a wean Falcon has set in motion a path to County lockup, frequent visits to A&E or childhood celebrity — i.e. the room in “we’ll sort it out for you (at a price!) Rehab and Retreat is already reserved!

A good friend of mine prosecuted a murder in Aberdeen some years ago and it took days, much cajoling from those of us who had attended “normal schools” and many replays of a self-incriminatory prison “phone call tape,” for him to accept that, actually, the female accused had tortured and killed another teen female all by herself, no man involved, (then had no problem spending the poor lassie’s savings).  Evil is, my friends, to use a P.C. tern, “non-gender specific.”

Female crime and violence, often drink fueled will, as with most problems, only be made worse by those looking for a dominant male to blame or the creation of socio-friendly excuses.  Get real people, equality, even by definition, means in all things.  There are higher rates of female alcholoism these days — hardly a shock, of aggression in town centres, of girl gangs happy to inflict horrendous injuries on a poor lassie accused by the mob(ette) of “trying to steal my boyfriend.”  The two worst cases of sustained kidnap and torture of a girl I saw professionally involved that backdrop.

It is time to stop looking for excuses and to investigate, then address, the reasons.  Between 1998 and 2007, there was an 81% increase in reported female violent crime in England and Wales.  How bad does it have to get before we, as a society, wake up?

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High Street scene in Edinbugh

RE-CREATION: BELFAST

November 8, 2009 by lisapaul1000
Inside the Belfast MuseumFLYBUTTERFLY

Belfast bus stop poster

BELFAST: OCT 22-23, 2009

My visit coincided with the grand opening of the new Ulster Museum after a two year renovation.  The transformation of the 80 year old building includes a a ground floor exhibition chronicling “the troubles,” a highly significant unveiling in that it placed Northern Ireland’s polarization into a historical context in the wake of a renewed optimism for a lasting reconciliation sparked by HIllary Clinton’s recent visit.  In its breath and range of exhibitions, and successful marriage of tradition and innovation along with art/history/science, the museum is just the symbol of integration the city needs for its resurrection.

BALOONS

October 22, 2009: Grand Opening of the Ulster Museum

Coincidentally, the majestic Victorian City Hall had just opened a new cafe and exhibition space devoted to a photographic history of Northern Ireland and a video installation dedicated to both celebrating luminaries and chronicling the history of the “the Troubles.”

STAROFDAVID

Star of David, Universal sign of Unity, embedded in the floor of Belfast City Hall

The intention was to resurrect the city by bringing its peoples together.

CITYHALLZOD

Zodiac inside the rotunda of the Belfast City Hall

After my tour of the City Hall, it was dusk but I was intent to enter into West Belfast after stumbling on this mural when walking from the hostel earlier in the day.

SANDYROW

Sandy Row, Belfast

I walked through a security checkpoint and discovered a new complex with a cafe.  I was told that HBO was shooting a series there!  Here was the convergence between past and present, Belfast’s transformation.

At dusk, I wandered over the expressway bridge into West Belfast.  What a shift of energy!  The atmosphere of the forlorn in decayed storefronts and empty streets…

WBELFASTSTREET

West Belfast street

…the twinge of fear in knowing I was a stranger who didn’t belong there.

A group of boys playing ball and asking: “What are you doing here?”

The creepy feeling of being of being watched so close to All Hallows Eve!

SECURITY

Security cameras are everywhere in West Belfast, accompanied by ominous signs

MURALWBELF

West Belfast mural across from surveillance camera

Is there an environment more watched by Big Brother than West Belftast?

I doubt it.

But I was intent on seeing the wall murals which were the silent voice of the people…

After I located this one (left), just off a well traveled street, I asked a man on the street where to find more murals and he directed me to Clonard Martyrs Memorial Garden.

So, I walked through empty lanes with the attached brick houses so identified with Western Belfast, the houses of the oppressed workers who built the city…

PHEONIXGATE

Gate at Clonard Martyrs Memorial Garden, Western Belfast

There was a very solemn feeling, yet entering the phoenix gate of the site whose wings were separated by the opening, infused the visitor with the hope of fusion upon closing.

I sat and stared at the plaque (below)…

CLONARDPLAQUE

CLONADMONUMENT

and monument (right) commemorating the freedom fighters.

…for a long while as dusk became night.

I returned across the bridge under the rising Crescent Moon, I came upon the symbol of Justice, also the Libra symbol of balance and peace.  How fabulous to encounter Lady Justice with a branch (the yod) just at the shift of Saturn entering the sign of Libra, in which it is exalted.

JUSTICEMURAL

Justice mural on street adjacent to the entrance of Western Belfast

A very hopeful sign for the future!!

DARK MOON: DECREATION

October 18, 2009 by lisapaul1000
William Forsythe's "Decreation" at BAM

William Forsythe's "Decreation" at BAM

Like the Ouroboros, I have now come full circle.

No other visible artist on the planet, it seems, has insight into Kundalini like William Forsythe.

http://www.bam.org/view.aspx?pid=1257

I can still recall the excitement I felt in my body, the Kundalini surging, when I first saw the Frankfurt Ballet in Los Angeles in 1992.   There was a ticker tape machine on stage and the dancers were reading out messages and they were all about time.

He detected it: the crucial importance of art evoking its time.  Time as the last remaining 20th century challenge for physics. Science failing to explain how — when we have so many time saving devices — we are losing time.

This past week, I spent far more time than usual in the unconscious.  On Thursday, for example, I felt myself levitating from the bed and finally got up  to discover the morning had disappeared.  I went for breakfast at 2 PM, when the Lakeside Diner was getting ready to close and sat there until they mopped under my feet, completely focused on organizing images for my oral presentation scheduled for the AICA 2009 Congress in Dublin.  My awareness of Time factored right into it!

It sounds like an old cliche, I know, to say how crucial a moment of time is because it will never happen again, but given the perspective of astrology we can scientifically calculate just HOW unique it is!

My goal as a critic is to evoke in my writing the patterns existing at the very time of its execution. To be successful at such a co-creation with the universe, I need to focus on artists who create works evoking their times.

Can my ambition explain why great human beings such as Fuller were out of context with their times?  If Time dominates human thought, than how could Margaret’s critics appreciate her being an instrument of her time?  In living in the same time as her, they couldn’t detach themselves from their times in order to see, in high relief, how she evoked her time, the post-romantic era.

This is the gift that Mary of Persephone gave me when she advised me to view my own chart from the perspective of the Galactic Center, which now represents the Great Unknown.  Ever since then, I am happy to stand in the “I don’t know” and realize this is the place of great power!  Entering the place o unknowing means a surrender to the unfolding, letting the evolutionary energies work through the body, the ultimate indicator of time.

And what about the body of work.  The timing of delivery, the timing of performances, the timing even of beginning and ending my writig.  It is all about capturing the unique moment in the most appropriate expression reflecting that moment.  This is the essence of true creativity that I am understanding by reading about Margaret Fuller.  A life in co-creation with the universe.  She was 200 years ahead of her time and her time rejected her because they couldn’t understand her achievement — mastering time so to filter her times!

Below are my notes on DECREATION which attempt to explain why this performance was so evocative of our time, defined as it is by the Saturn-Uranus opposition.  The performance begins in real time and ends in mythical time.  What separates the two is Sound.

Video illuminates symbols as signs of transformation: the hand, black face and the Sphinx created through a face resting between two feet propped on the table.

Bringing the Kundalni into the body, the rejection of kundalini by the body.

The medium of dance is explicity about the body.

Dance is therefor the Kundalini’s natural medium.

A black dancer with her holistic moves represented the natural flow of the Kundalini.  Others in the company revealed the fear associated with the serpent power.  The fear of losing control.

The very word Decreation has a religious association.  If God created the world in seven days, then how long does it take to decreate the world?

To decreate the patriarchal hold on the body and create the vacancy so the Goddess can enter.  Yet, there is considerable resistance from the Ego and the result is schizophrenia, the body fighting with itself.

It was the message of the Sphinx that drove me to Brooklyn to see William Forsythe’s Decreaton.

I have never seen such a penetrating view into human emotion, the warring opposites behind schizophrenia surfacing as the heated, desperate negotiations in a relationship, with frequent lapses into lawyering, that we carry on in the name of love.

The sheer futility in speaking about LOVE when the heart is closed and the body rejects and/or distorts the serpent power that attempts to break through the blockages that maintain stagnancy.

The heart has its own intelligence.  This central organ regulates the blood flow, maintains our ALIVENESS.

How is it that we let our mind fuck it all up??

William Forsythe acutely understands duality and the need to reconcile the warring opposites.  All the talk of love, he shows us on stage, is representative of a culture that resorts to words as a cover for the utter lack of unifying feeling.

Words as blades thrust at such an emotional pitch that the spontaneously transform into opera.

Yet, through a communal sound there is unity.  Sound creates the sacred geometry of the circle, a geometry of holism, which dominates the close of the performance.

That is the transformation.

Sound and Silence.

Decreation ends on a hopeful beautiful note, the passage into unity, the round table and the two female dancers, one wearing black and the other white, embracing.  it is reminiscent of the yin and yang.  With the rest of hte company sitting at the 12 chairs.  Twelve being a number of sacred geometry: twelve were the tribes of Israel; twelve gates to the holy city; twelve houses of the zodiac.

Sacred Geometry of the Hieros Gamos on stage.

Where Forsythe goes, others will follow.

This circle completed with William Forsythe is all about Time.  The Ouroboros devouring itself.  My work of self-devouring completed JUST IN TIME.

When science accepts astrology, which is the oldest science of all, we will have resolved the problem with Time.  And from there, scientific experiments with astrology will reveal a truth known by shamans: the gods we project onto space are actually within.

This leap in human evolution will be undeniable with 2012.  Who can deny the convergence of time and space when we have the collective experience of the Winter Solstice Sun aligning with the Galactic Center?

The question that lingered all this week after seeing Decreation is this: how much do things have to deconstruct in order for us to embrace the truth of our interconnectedness with the Earth and its place in the divine rhythm of the cosmos?  Wouldn’t it be best to have all the warring parts of ourselves take their places around the round table representing the unity we can discover by understanding our inner rhythms influenced by the galactic bodies?  Isn’t it time to prove Newton wrong and reveal scientifically that the planets are not just dead objects in space, and alive as our own bodies, charged by the cosmic rhythms!

THE SPHINX AND TIME

October 11, 2009 by lisapaul1000
from "Shadow Play" by Debra Drexler

from "Shadow Play" by Debra Drexler

From my catalogue essay on Debra Drexler’s Shadow Play:


“The painter layers spontaneous imagery from the collective unconsciousness and solidifies forms in accordance with universal symbolism – tree, bird and shadow.  In doing so, she reveals how, in a time of uncertainty, the only authentic path is for the artist is to embrace Uncertainty, and ride the Quantum Wave as it collapses to uncover the emerging archetype of the Self.  “If humanity is going to survive and achieve its potential, an evolution in consciousness needs to take place.”

The riddle of the Sphinx arises again with the synchronicity of discussing Debra Dreler’s luminous “As above, so below” manifestation of the spirit of the Yod in full Aquarian splendor.

This unfolding is a response to  Jason’s invitation to the answer the riddle of his Black Sphinx which he placed on  pedestal over a closed door with a large keyhole.

Jason Tallon and his "Black Sphinx"

Jason Tallon and his "Black Sphinx"

I was too busy processing the synchronicity that led me to his studio to find his Sphinx when I was resurrecting the Great Sphinx in my fiction, in a manuscript entitled The Sacred Chamber which explored the notion of ancient scrolls containing the root of our human origins located under the paws of the Great Sphinx.

Yesterday, the Sphinx came up again.

Card #33 The Secret Dakini Oracle

Card #33 The Secret Dakini Oracle

I opened the book of The Secret Dikini Oracle (the tarot deck I use for divination) to card 33, Eternal Life, which contains an image of the Egyptian god Amen before the primordial waters turned golden by the sun.  He is holding an Ankh as if a mirror to the sun and below is the Great Sphinx.

The text reads:  “The Sphinx is the symbol of the alchemical agent or catalyst, whose inner nature holds the key to the promise of transformation, producing the substance that can turn all matter to gold, all spirits to the Enlightened.  The raw matter is the person, the distilled elixir is the Immortal Spirit of Eternity.”

The divinatory meaning of this card: “a solution to a problem, the triumph of light over darkness, clarity over obscurity, just as the sun rises each morning and after the night is completed.”

Hurrah!.  The answer to the riddle is right there for anyone who can open up to the awe of a majestic work of art.   Creating something that outlives one’s lifetime, that exists in eternal splendor for the ages to enjoy, investigate and reinterpret in accordance with their cosmic influences.  All along, Jason was the key to the riddle when he repeated to me his childhood desire: “I want to be immortal!”

So here, Mercury’s six-week journey comes to a conclusion. It moves out of its Shadow under the Virgo Moon on Wednesday. I will be meeting with Diane Bowen and bringing my two-year journey of inquiry over the state of the feminine in art and the popular culture to a close.

DEBRA

The night before, I concluded my public dialogue with Debra Drexler (at left, siting in the audience before the d gallery discussion) who transits between Hawaii and New York delivering a view of the Sky Goddess landing in the material of art.

Being fully engaged in the present moment is the underlying message here.  Living in full awareness of the present moment because every moment has a unique quality that will never occur again.  How we astrologers know this!

Egyptian Goddess

Egyptian Goddess

We concluded our dialogue with a visit to a party where I met an Egyptian woman who stands (left) as a living reminder that the Goddess (Uranus in Pisces)  has landed in the body (Saturn).  If I am frustrated in my current feeling that the art world has fallen behind in excluding the Goddess, then this was a crucial sign that she has entered the multicultural scene of New York City!

How does she make her Grand Entranc?.  The clue, for those who are present, is in Debra’s painting below.

from "Shadow Play" by Debra Drexler

from "Shadow Play" by Debra Drexler

So, the key unlocking the door guarded by the Black Sphinx (the symbol that guided this time of the Nigredo ruling the underground EMERGENCE)  is being full present to the unfolding of the Cosmos.  As much as I attempt to consciously put this into daily practice, I need to be reminded.

Stopping Time Meditation October 2 at 8:40 PM

Stopping Time Meditation October 2 at 8:40 PM

On Friday night, October 2, I attended an 8 PM meditation led by Mary of Persephone and the clock stopped at 8:40.  Mary of Persephone always guides us into meditation by songs and the song she played for us was all about time and being present and the arrogance of ego that, in retrospect, believes it would have known what to do at precipitous moments in history and God informing the ego that it wouldn’t have known anything.

It was a difficult message to absorb, made more difficult by the clock stopping, something that Mary of Persephone noted and included into the process.  As we discussed the synchronicity afterwards, the clock started again.

Time vs. Eternity.  This crucial teaching took place between the Moon conjunct Uranus and the Moon conjunct Saturn.  Uranus drives one to create for eternity and Saturn is the pressure of time. The meditation seemed to go so slowly because the rising sign was Taurus and the group/ creative experience of time and consciousness was reinforced by the Saturn in Fifth House opposing  the Moon/Uranus in the Eleventh House of groups and the collective consciousness.

One of the feelings that came up for me during the  seemingly endless meditation was: “Do I really have time for this?” And after the group experience came to an end, the answer was surely: YES!

ATTACKING THE MOON

October 9, 2009 by lisapaul1000
Moon Surface

Moon Surface

TALK ABOUT IMPINGING ON SACRED GROUND!!

All week I have been suffering from an unknown ailment which has kept me mostly in bed; I passed it off to exhaustion.

And this morning, I hear that NASA has attacked the Moon!

LUNAR ATTACK!  October 9, 2009

LUNAR ATTACK! October 9, 2009

Talk about a futile, arrogant, senseless struggle for universal dominance by the already dead Patriarchy!

The crash, and its effects on me personally (I live my life to be in sinc with the Moon), reveals a dangerous path of patriarchal domination over Mother Nature — through technology.  On Earth, the attempt is to remove the human body from Nature through the inhalation, ingestion and absorption of chemicals, and in space, it is to remove the galactic order.  This is surely the dark shadow of the Age of Aquarius — humans believing they are god, and can therefore disturb the architecture of the cosmos!

I’ll be sharing my thoughts on this tonight at the HP SALON that I am presenting with artists Debra Drexler and Barbara Rachko.

I find in my e-mail a message from my friend Rolf Mauer, the Green Candidate for Mayor of Stamford:

“I read about this somewhere awhile ago, but I didn’t think it was going to happen. Talk about symbolic desperation!”  Rolf is convinced that the $79 million mission to crash into a crater  to explore water on the dark side of the Moon is a cover-up for a real purpose: amassing material for cold fusion.

From Yahoo.com:

Has a hyperactive five-year-old taken over as the director of NASA? It sure seems like it. On Friday morning, an unmanned spacecraft launched in June will crash into the moon’s surface. On purpose.

Anyone not named Michael Bay is likely to ask why. Here’s the answer: NASA wants to know if the twin impacts of the Lunar Crater Observation and its Sensing Satellite (LCROSS) will reveal any ice or water under the moon’s surface.

Finding out shouldn’t be an issue. When the twin crafts hit the lunar surface at around 6,000 mph, NASA expects “plumes of moon dust — perhaps full of ice — (to soar) 6.2 miles high above the moon’s Cabeus crater.”

Anticipation among the earthbound is running high. Lookups on “nasa moon bombing” are scorching the search box. Related queries on “nasa.gov” and “NASA moon mission” are also rocketing skywards. More than a few folks are wondering how much the soon-to-be-destroyed LCROSS costs. Answer: $79 million, according to Christian Science Monitor.

Clearly, this is one of those cases where a picture is worth a thousand words. We’re gonna go one better and show you a video from NASA. The animated clip shows what NASA expects to happen. The entire sequence looks a bit like one of Dr. Evil’s satellites crashing into the Death Star. In other words, it’s awesome. See it for yourself below.

http://www.cnn.com/video/data/2.0/video/tech/2009/10/09/sot.moon.nasa.impact.nasa.html

In the words of Dr. Anthony Colaprete, a planetary scientist at NASA Ames and principal investigator for the LCROSS mission.: “The one thing we’ve learned about the moon is how much we really don’t know about the moon.”

http://www.nasa.gov/multimedia/podcasting/arc-colaprete-lcross-20090401.html

Right!  We certainly do need to understand about the Moon, regulator of tides on Earth!  Without the Moon there would be no life!  Just like there would be no life without the feminine!

Here Barbara Rachko reveals the archetypes arising from the Dark Energy of the Universe.  My shadow is visible and the crescent moon of Oracle as I took this photo in the HP Garcia Gallery.

DSCN4656

Below Drexler reveals the Shadow as chrysalis of the emerging Self.

"Shadow Vines" by Debra Drexler

"Shadow Vines" by Debra Drexler

Debra is attends a healing school and does regular mediation and yoga.  She is a rare awakened woman who lives between Hawaii and New York City.  In her current series, on view at HP Garcia Gallery, she is revealing the process of awakening and the role of the Shadow at the crossroads.  Her symbolism of the branch represents the World Tree and also the Yod, below, which took place on the last day of September: an exact Moon conjunct Neptune, in a stellium with Jupiter/Chiron, revealing the structure (Saturn in Virgo) and mythology (Mars in Cancer) of the New Archetypes for the Age of Aquarius.  But clearly, there is also a warning here about the Shadow: the patriarchal struggle for control of the feminine power…


September 30 at 7:34 AM EDT

September 30 at 7:34 AM EDT

I captured the image in the sun between a tree on my property.

TREE

THE DEMOTION OF PLUTO

October 2, 2009 by lisapaul1000

"Black is Film Circle" by Aldo Tambellini

"Black is Film Circle" by Aldo Tambellini

Considering that the Moon/Pluto conjunction dominated the Above Ground Performance in its trine to Venus, which ruled the Taurus Ascendent, it is time to reassess Pluto in the context of its demotion by astronomers.

Pluto’s Demotion Tapped as 2006 Word of the Year
By The Associated Press

posted: 8 January 2007
2:00 p.m. ET

Pluto is finally getting some respect – from wordsmiths.

“Plutoed” was chosen 2006 Word of the Year by the American Dialect Society at its annual meeting on Friday.

To “pluto” is “to demote or devalue someone or something” much like what happened to the former planet last year when the General Assembly of the International Astronomical Union decided Pluto did not meet its definition of a planet.

“Our members believe the great emotional reaction of the public to the demotion of Pluto shows the importance of Pluto as a name,” said society president Cleveland Evans. “We may no longer believe in the Roman god Pluto, but we still have a sense ofpersonal connection with the former planet.”

“Plutoed” won in a runoff against “climate canary,” defined as “an organism or species whose poor health or declining numbers hint at a larger environmental catastrophe on the horizon.”

http://www.space.com/news/ap_070108_plutoed_word.html

In our performance, ‘Plutoed’ was about the collective (the Moon) taking the power away from the celebrity obsessed consumer society, and placing power in the hands of the individual creators.

There was a man with a rainbow in the passage to  projection room where the “Above Ground” performance took place.  He was wearing a homemade pendant consisting of a chunk of turquoise.  ”Are you a magician?” I asked him.  ”I am,” he said.

For me, this beautiful man was the signal of the transformation taking place inside the room, which was representative of what has been taking place in the artistic Underground.  The Plutonian magician is no longer the dark force who overpowers the innocence of Persephone.  He is an equal partner to the alchemical experiment.

Here is what Julie Loar wrote about Pluto in Capricorn in a recent issue of Atlantis Rising.

Alas for Pluto, he’s no longer a planet but a plutoid. Plutoids are bright and spherical objects which orbit the Sun beyond Neptune. They are not considered planets because they don’t have enough mass to clear the area around them. Actually, a planet has been defined for the first time. Pluto orbits in the Kuiper Belt, a ring of icy debris on the outer edge of the solar system. Pluto, and other small planet-like bodies, are now named for either mythical gods of the underworld, or creation deities, depending where their orbit is relative to the Sun.

Beyond the Kuiper Belt, in a section of our solar system called the Scattered Disk, the newly discovered Plutoid Eris orbits. She is larger, and much further away from the Sun, than Pluto. It was Eris, aptly named for the Greek goddess of discord, who caused Pluto’s demotion, and this has resulted in a whole new category of small planets.

The mythology of Pluto is Hades, brother of Zeus (Sky) and Poseiden (Sea), who lorded over the Underworld.   The avant-garde that I write about is concerned with this archetype of the Underground, ruling Warhol and his films, and the happenings of Aldo Tambellini.  Pluto is the god of precious metals mined deep from within the Earth.  The name has entered our current language as wealth or “plutocracy” intend of keeping the riches of the planet to themselves.  Pluto gives rise to many a conspiracy theory!

The marriage of Pluto was through treachery and deceit.  He kidnapped her while she was intoxicated by the Narcissus.  By way of Persephone, Pluto is therefore connected with the annual cycle of fertility rites, which is how the more ancient Sacred Marriage Rites survived the shift of cosmology to the patriarchy.   Loar writes:

If we understand the Hades/Pluto myth, we see that death is part of a cycle, and the expected outcome is a cyclical resurrection. Ancient cultures understood this, but in the West, we often forget the promise of spring and rebirth that is implied in the annual death.

http://www.queenofcups.com/AR76Article.htm

Could this mean that if we regained knowledge of the Great Round of death and rebirth, we wouldn’t have to enter into resurrection unconsciously through abusive relationships, rape and power struggles?  Pluto is the archetype responsible for the global abuse of women.  For women to take back their power, which is necessary to create a new culture based on gender equality, it would mean nothing less than owning up to this power within, an awakening to the mysteries!

It would seem then that the demotion of Pluto is an essential step to make this force, neither patriarchal or matriarchal, but an equal partner in the Great Round, the cyclic resurrection that refers not only to the season but the birth of the Age of Aquarius.

This process will not be easy.  It will take the Saturn square Pluto transit to break down what is left of the old archetypes, and bring forth new structures of collaboration among gender.

Saturn enters Libra on October 29, when I will be in Dublin with my Oral Presentation:  The Heisenberg Principle in 21st Century Art.”  I see the challenge, to address the forces of the plutocracy that have infiltrated the art world and stripped contemporary art of its soul, and present this condition against the emergence of a new archetypal model for human relationship, “The Sacred Marriage.”

The last time Saturn and Pluto were in difficult aspect was the opposition during September 11.  I will be tracking signs in the culture this fall, which is the upheaval leading to the Jupiter/Uranus conjunction in Pisces, next year, which brings ends the mutual reception of Neptune in Aquarius and Uranus in Pisces to a resounding close.   I long ago predicted that this interchange between the rulers of my Sun (Aquarius) and Moon (Pisces) would bring in a new art movement.  And given this consciousness, it isn’t surprising that I have a role in bringing it to the attention of the global community of art critics.  Here is a comment from Richard Tarnas in Cosmos and Psyche (p. 338)”

It sometimes happens that the two very different planetary cycles we have here been comparing, Saturn-Pluto and Jupiter-Uranus, unfold in such as way that they precisely overlap in a particular moment in history.  We can then observe the telling ways in which the coinciding phenomena reflect the two distinct archetypal patterns working together.

These two formations will be taking place next year: the breakdown/restructuring of Saturn-Pluto will be accompanied by the Uranus/Jupiter in the sign of Pisces, ruling the mythologies we live by, the very archetypes we model ourselves after.  While Jupiter/Neptune delivers the Aquarian mythology of the present Yod, next year will be about the awakening of this mythology to the collective humanity (Uranus).

What role does Pluto have in this process?  Here is what Julie Loar says about the demotion of Pluto:

Even though Pluto is no longer officially a planet, his astrological influence has not diminished. Ask any astrologer. It’s arrogant to assume that size, or appearance, are the only valid measures of significance. Pluto may be small relative to the other planets, but he is mighty, releasing tremendous power. In a way, I believe Pluto’s change of status has freed him to operate more potently in his own mythical realm–the Underworld. Like a stealth provocateur, he moves unseen, touching the depths of what’s hidden from view, but needs to be seen, and triggering volcanic eruptions which are felt on the surface.

This is the reason why we need powerful works of art now, more than ever.  But it also explains why they remain Unseen from public view.  The Greek mythology has been dismissed by contemporary minds and we await the mythology unfolding from the concretization of Pluto in Capricorn square Saturn in Libra to replace it.

Next year, Uranus in Aries enters the picture to create a T-Square among the three planets known as the “malefics” in traditional astrology.  We only need look back to the Great Depression, the last time there was such a line-up, to obtain an understanding of what to expect but Tarnas has numerous examples of paradigmic art that changed the course of human history which carries these imprints.

My goal here is to attempt the impossible, to assess history as it is being made through the lens of my understanding of the unseen force of the Kudalini as its winds its way into the collective consciousness.  In astrology, this energy enters through the higher mind (Uranus) at the crown chakra, or the body instinct (Pluto) at the root chakra.  Neptune in Aquarius brings this energy into the circulatory system to electrify the body into and through the archetype of Self.

Things come out of hiding at this period, like the Plutonic works of Aldo Tambellini that were created in the early sixties and believed to be lost for decades.

"Three Photos Black TV" by Aldo Tambellini

"Three Photos Black TV" by Aldo Tambellini

See how this discovery informs my understanding of the Pluto square Saturn as it enters into form over the next few weeks.


ABOVE GROUND TRANSFORMATION

September 29, 2009 by lisapaul1000

"Above Ground" by Michael Manning and Mark Wiener, completed at 9 PM EDT, HP Garcia Gallery, NYC

"Above Ground" by Michael Manning and Mark Wiener, completed at 9 PM EDT, HP Garcia Gallery, NYC

The “Above Ground” Black Madonna performance on Friday night was a success on every level.

http://mwienerarts.com/blmadnna.html

The transformation from projection onto an outdated archetype (Madonna) to the Aquarian Age marriage of opposites, the shadow of the “Fallen Woman” (at right) sharing the stage with the Aquarian spirit (at left) brings us to a new cosmology in which left brain (Wierner’ssacred geometry) and right brain (Manning’s Kundalini Expressionism) are in harmony.

This performance brought the archetypal astrology of philosopher Richard Tarnas simultaneously into the international avant-garde and into the collective consciousness.

“I have found the archetypal astrological perspective, properly understood, to be capable of illuminating the inner dynamics of both cultural history and personal biography.  It provides extraordinary insight into the deeper shifting patterns of the human psyche, both individual and collective, and into the complexly participatory nature of human reality.  It places the modern mind and the modern self into an altogether new light, radically recontextualizing the modern project.  Perhaps most important, it promises to contribute to the emergence of a new, genuinely integral world view, one that, while sustaining the irreplaceable insights of the modern and postmodern development, can reunite the human and the cosmic, and restore transcendent meaning to both.”

Richard Tarnas, Cosmos and Psyche

Embodying the Cosmology, 8 PM EDT, HP Garcia Gallery, NYC

Embodying the Cosmology, 8 PM EDT, HP Garcia Gallery, NYC

“In order to understand the cosmos better, perhaps we are required to not only transform our minds but our hearts.  For our whole being, body and soul, mind and spirit, is implicated.  Perhaps we must go not only high and far but down and deep.  Our world-view and our cosmology which defines the context for everything else, is profoundly affected by the degree to which all our facilities enter the process of our knowing.”

Richard Tarnas, Cosmos and Psyche

After I drew the astrology chart of the performance on the wall, Mark Wiener proceeded into the Nigredo, the blackening of consciousness through covering the chart with his calligraphic gestures…

The Blackening (Nigredo), HP Garcia Gallery, NYC

The Blackening (Nigredo), HP Garcia Gallery, NYC

leaving only the Mars in public view, when the Nigredo was completed.

Mars in Cancer still in view

Mars in Cancer still in view

A new art form?

A new art form?

This new art form, a 21st century marriage of Heaven and Earth, is something I envisioned back in 1999, when I was reporting on the development of streaming video for Internet.com while embarking on the profession of art critic.

The technology then was just in its infancy and it took the dot.com boom to create the wealth to lay the fiber network to make it possible.

Following the Nigredo was an immersions into chaos, and the removal of the black paper, to emerge with the final image of the Aquarian female with the Kundalini spirit (in blue) entering from the base of the spine.

Michael Manning viewing his Aquarian iconography, the female form with the upper triangle of the male spirit at the foundation, the base of the spine where the Kundalini awakens

Michael Manning viewing his Aquarian iconography, the female form with the upper triangle of the male spirit at the foundation, the base of the spine where the Kundalini awakens

“How we approach “the other,” and how we approach each other, will shape everything, including our own evolving self and the cosmos in which we participate.  Not only our personal lives but the very nature of the universe may demand of us now a new capacity for self-transcendence, both intellectual and moral, so that we may experience a new dimension of beauty and intelligence in the world – not a projection of our desire for beauty and intellectual mastery but an encounter with the actual unpredictably unfolding beauty and intelligence of the whole.”

RIchard Tarnas, Cosmos and Psyche

The “Above Ground” performance brings the Black Madonna experiment in Uncertainty to a close.  And I would like to think that it ushers in a new post-celebrity, post-consumerist era in which human beings become co-creators with the cosmos.

Paulette Perrier of The Marian Iconography Project with "Andres Serrano in Oracle"

Paulette Perrier of The Marian Iconography Project with "Andres Serrano in Oracle"

This is our vision of the path that can guide us to a true gender equality in the twenty-first century, where the feminine power is no longer repressed or objectified and we move beyond projection of the dark feminine to — in the (above words )of Richard Tarnas — “the actual unpredictably unfolding beauty and intelligence of the whole.”

It remains our choice:  To enact a conscious surrender to Uncertainty surrounding this Beauty or fight the evolution that is fast approaching with the line-up of the Winter Solstice with the Galactic Center at 11:11 GMT on December 21, 2012!

“CODEX” REVISITED

September 25, 2009 by lisapaul1000

HP chose the timing of tonight’s performance.  We already know that he is supremely guided by the spirits that protect his Templar lineage.  The extraordinary thing about the timing of tonight’s performance is the juxtaposition of the natal chart with the 2008 “Codex” performance.

Bi-Wheel revealing the Taurus Rising of Codex (March 19. 2008) and AboveGround (September 25, 2009

Bi-Wheel revealing the Taurus Rising of Codex (March 19. 2008) and AboveGround (September 25, 2009

The astrology charts for “Codex” and “Above Ground” performances are drawn exactly six months apart.  They both have Taurus Rising, which means the chart is ruled by Venus, the planet ruling art and value, as well as love.   What we love is what we value.

But what we value changes with time and consciousness.

“Codex” was made at 9:30 AM on March 19, 2008, just prior to Spring Equinox 2008, in Mark Wiener’s 79th Street studio.  I was present as the conscious observer/participant taking photos and witnessing Wiener’s return to the brush after years of abstinence.

CODEX PERFORMANCE: POURING

The experiment begins with the POURING

…. from the RIGHT BRAIN.

In the beginning of the experiment this was a completely unconscious process. Like any process, it became more conscious with practice.

Then came the return to the brush.  With the long abstinence, one has to learn all over again!

But this time with consciousness and purpose.

Using both sides of the brain!

PERFORm2

The next process involved using a ruler to draw a grid.

This brings mathematical order, an underlying foundation of sacred geometry into the picture.

The holism of the work comes from the integration of Right brain and Left brain, masculine and feminine, inner and outer, conscious and unconscious.

The result is inner and outer space converging into an omnism.

This is holistic art, where each creation is a totality in itself, yet an essential building block to the whole.

PERFOR3

PUNCTURING THE SURFACE (below) with the RIGHT BRAIN, the Nigredo of the dark moon.

PERFORM4

Mark Wiener resting with “Codex” following the March 19, 2008 performance in his 79th Street studio.

This performance laid the foundation for BLACK MADONNA, though we didn’t connect “Codex” specifically to the Madonna photos I had just discovered in his studio.  This was probably due to the darkening of Luna under the Lunar Eclipse of February 20, visible in New York City, which fell across the Moon/Saturn opposition.

“Things are different with Luna: every month she is darkened and extinguished; she cannot hide this from anybody, not even from herself. She knows that this same Luna is now bright and now dark — but who has ever heard of a dark sun? We call this quality of Luna “women’s closeness to nature,” and the fiery brilliance and hot air that plays round the surface of things we like to call “the masculine mind.”

C.G. Jung, Mysterium Coniunctionis: par 331, pg 247

Two days, prior, when we decided to do the performance, I saw one of the photographs, below, of the nude pop star on the floor of the studio.  It was March 17, St . Patrick’s Day.  We left his studio and ran into the parade on Fifth Avenue.

MADONNA

On April 3, 2009 Mark had left 79th Street and was in a temporary Upper East Side studio when he completed The Black Madonna Series, below.  This was the same day that I had a meeting with HP to plan the Black Madonna exhibition:

DSCN3206

Still Life in Red and Still Life in White at right.

Representing Eros (red) and Purity (white)

Detachment through alchemy, the red as the rubedo and white as the albedo, passages to the transformation of the opposites into the mysterium coniunctionis.


“The psychological rule says that when an inner situation is not made conscious, it happens outside as fate. That is to say, when the individual remains undivided and does not become conscious of his inner opposite, the world must perforce act out the conflict and be torn into opposing halves.”

C.G. Jung, CW 9: AION: 126

The intent here was to turn fate into destiny through the conscious interaction of Luna with an artistic experiment in which the male artist connects with his anima, once projected onto a rising pop star and now contained in a body of work created out of abstinence.

I set up the “Codex” performance by drawing up the astrological chart containing the opposites of the feminine planets, Virgo and Pisces, which would bring the face of the feminine into form in 2009, due to the transit of Saturn in Virgo, the planet ruling form which is associated with the Goddess of the Harvest in Aug-Sept.  In the “Codex” chart,  Venus ( 8 degrees Pisces) is conjunct  Mercury in opposition to the Moon/Saturn conjunction in Virgo.

At this juncture of incorporating the Dark Moon (the Black Madonna) into consciousness through Saturn, another quote from Jung applies:

“Things are different with Luna: every month she is darkened and extinguished; she cannot hide this from anybody, not even from herself. She knows that this same Luna is now bright and now dark — but who has ever heard of a dark sun? We call this quality of Luna “women’s closeness to nature,” and the fiery brilliance and hot air that plays round the surface of things we like to call “the masculine mind.

C.G. Jung, Mysterium Coniunctionis: par 331, pg 247

"Codex" performance by Mark Wiener, March 19, 2008: 9:30 AM NYC

"Codex" performance by Mark Wiener, March 19, 2008: 9:30 AM NYC

Madonna natal astrology chart: 17 August 1958

Madonna natal astrology chart: 17 August 1958

This Virgo/Pisces opposition falls on the pop star’s Virgo Moon/Pluto conjunction in her natal chart (right).

Located in the first house of her natal chart, below, this darkening of the emotions (Moon) by the Serpent Power (Pluto) establishes the persona of the Black Madonna, an insatiable hunger for knowledge manifested in the late 20th century materialist culture as a hunger for sex and material possessions (Mars in Taurus desires to possess the tactile, the physical and make it a possession).  We have seen this in the pop star’s acquisition of the Boy Toy, which continues in a superficial attempt to establish the Sacred Marriage Rites for the 21st century with her newest Boy Toy, Jesus, whom she insists wasn’t selected as a partner due to his name!

This manipulation of a myth is in keeping with the control manifest in the chart.   archetype manifested into physical form through the pop star whose given name was Madonna.  Her chart reveals a submergence of the masculine Sun, the identity, in the collective unconscious (Twelfth house).

We return to Jung for understanding of this phenomenon of the dark moon and the blackened sun of this chart (under a solar eclipse this past summer):

“Despite all attempts at denial and obfuscation there is an unconscious factor, a black sun, which is responsible for the surprisingly common phenomenon of masculine split-mindedness, when the right hand mustn’t know what the left is doing. This split in the masculine psyche and the regular darkening of the moon in woman together explain the remarkable fact that the woman is accused of all the darkness in a man, while he himself basks in the thought that he is a veritable fount of vitality and illumination for the females in his environment. Actually he would be better advised to shroud the brilliance of his mind in the profoundest doubt. It is not difficult for this type of mind (which besides other things is a great trickster like Mercurius) to admit a host of sins in the most convincing way, and even to combine it with a spurious feeling of ethical surperiority without in the least approximating to a genuine insight. This can never be achieved without the participation of feeling; but the intellect admits feeling only when it is convenient. The novilunium of woman is a source of countless disappointments for man which easily turns to bitterness, though they could equally well be a source of wisdom if they were understood. Naturally this is posssible only if he is prepared to acknowledge his black sun, that is, his Shadow.”

C.G. Jung, CW 20: Mysterium Coniunctionis: par 332, pg 247-248

There was value in humans acting out the patriarchal archetypes in the media dominated celebrity obsessed global culture of the turn of the millennia.  Postmodernism was dying and it took time for a new movement to evolve, a movement based on the search for holism, the unity of the opposites in the treasure to be found in the Sacred Marriage, or Hieros Gamos, at the end of the alchemical experiment.

Now, in a new era, the Obama era, we make a Paradigm Shift into a consciousness of an interconnected world in constant evolution.

And this necessitates a new value, a transformation revealed by Mark Wiener in “The Black Madonna Series” of which Still Life in Red was the signature image of the Black Madonna exhibition.

"Still LIfe in Red" by Mark Wiener

"Still LIfe in Red" by Mark Wiener

This image was created, in my presence, by a violent slashing of a red X across the surface of the photograph.  In crossing out his past in this manner, Wiener opened the door to a new future, not just for himself but for the collective humanity, to pull the dark energy known as Shakti or the Kundalini away from projection and transform it into art.

Tonigt, we close the eighteen month experiment with “Above Ground” streaming performance, bringing to the collective consciousness via the Internet a new value in art.  A value of holism, in which the dark face of the feminine is the container for a new spirit of the feminine in which the opposites are integrated.  This is the state of holy matrimony known as The Sacred Marriage or the Hieros Gamos.

"Above Ground" performance: 25 September 2009, 8 PM, EDT NYC

"Above Ground" performance: 25 September 2009, 8 PM, EDT NYC

This creates a container for the dark feminine through the EXACT conjunction with the Moon and Pluto at Zero degrees Capricorn.  This Ninth house position of the higher mind (philosophy and religion) is supported by a beautiful trine to the Ascendent at 4 degrees Taurus and Venus at 6 degrees Virgo in the Fifth House of performance.

The yod discussed in the previous posting has its apex in the Eleventh House of the collective consciousness through the planetary stellium of Neptune, Jupiter and Chiron in Aquarius.  The Virgo planets (Saturn, Mercury and Vesta) are, appropriately, in the Sixth house of form.

And Saturn in the Sixth House of physical form, rules the Midheaven and the North Node of the chart, which reflects the karmic dissemination of the individual chart.

This chart has authority written into it.  It establishes a standard for Art through its heavy Saturn emphasis on organization, manifestation and form.

Which finally brings us to Michael Manning, the performance painter who will be collaborating with Mark Wiener.  Manning has established a language for the transformation of consciousness by bringing the dark energy of the Kundalini into form via the human figure and timeless symbols in his mythological narrative painting.  He has a frequent motif of the base of the spine, as the spot where the Kundalini sleeps.

"Dear John" by Michael Manning

"Dear John" by Michael Manning

And here he has the Virgo glyph in his Holy Mary but this connection of Mary with Virgo was not conscious.  He is a filter for this knowledge of Mary’s origin as the Virgo bride to the Piscean Age version of the Consort, Jesus Christ, in the Myth of Eternal Return which takes place at the change of Millennia in order to instill the archetypes of a New Age.

"Holy Mary" by Michael Manning

"Holy Mary" by Michael Manning

In keeping with the Great Work of alchemy, this inner marriage requires the incorporation of the Shadow.  Again, we hear from Jung:

Recognition of the Shadow, on the other hand, leads to the modesty we need in order to acknowledge imperfection. And it is just this conscious recognition and consideration that are needed whenever a human relationship is to be established. A human relationship is not based on differentiation and perfection, for these only emphasize the differences or call forth the exact opposite; it is based, rather on imperfection, on what is weak, helpless and in need of support — the very ground and motive for dependence. The perfect have no need of others, but weakness has, for it seeks support and does not confront its partner with anything that might force him into an inferior position and even humiliate him. This humiliation may happen only too easily when high idealism plays too prominent a role.”

C.G. Jung, CW l0: Civilization in Transition: par 579, pg 301

Before Holy Mary entered Manning’s conscious narrative, there was his Gilgamesh series, which portrayed the crushing of the feminine under the foot of the patriarchal Shadow.  The hero embarked on his journey to seek eternal youth could not accept the weakness associated with the feminine, yet this fear was projected onto the primitive form of Enkidu, his Shadow companion.

"Our Fallen King" by Michael Manning

Having integrated the Shadow, Manning went on to establish the form for a conscious feminine figure, who incorporates spirit (blue) and emotion (red), transparency and shadow.

"Fun with Jane and Jane" by Michael Manning

"Fun with Jane and Jane" by Michael Manning

We await the “Above Ground” performance to see how this mythological language of the conjunctio develops through a live collaboration with “Codex” creator Mark Wiener!

I will be there, getting paint splattered on my silver dress (in honor of Luna), honoring the Heisenberg Uncertainty Principle as Observer/Participant made conscious by this blogging, while holding the energy of Eros, connecting the opposites:

“Woman’s psychology is founded on the principle of Eros, the great binder and loosener, whereas from ancient times the ruling principle ascribed to man is Logos. The concept of Eros could be expressed in modern terms as psychic relatedness, and that of Logos as objective interest.”

C.G. Jung, CW l0: Civilization in Transition: par 255, pg 123

"Above Ground" (outer wheel) and "Codex" (inner wheel) placed in the Zero degrees Aries rising chart of observer/participant Lisa Paul Streifeld

"Above Ground" (outer wheel) and "Codex" (inner wheel) placed in the Zero degrees Aries rising chart of observer/participant Lisa Paul Streitfeld

My natural chart, with ruler Uranus in Leo, opposing my Aquarian Sun, reveals the force of Eros as the strongest in the world!  In these charts, my Pisces Moon lines up with the Sun and Uranus, to deliver the face of the feminine into the collective consciousness via Art!

All quotes from Jung are from shadowdance.com.  Many thanks to this site for the illumination!

http://www.shadowdance.com/cgjung/cgjung.html

FALL EQUINOX 2009: FINGER OF GOD

September 24, 2009 by lisapaul1000
FALL EQUINOX 2009: FINGER OF GOD

FALL EQUINOX 2009: FINGER OF GOD

The  Fall Equinox took place on Tuesday, September 22, just before  sunset, at 5:30 PM EDT.

This remarkable chart is dominated by a YOD which is bringing both the New Paradigm and Age of Aquarius archetype, the Self or hieros gamos, into manifestation.  The comparison of this chart with that of U.S. President Barack Oblama, below, reveals how Obama, in his Wednesday address before the United States General Assembly, displayed in words and action the New Paradigm of global unity.

a

U.S. President Barack Obama, natal horoscope

U.S. President Barack Obama, natal horoscope

This fresh beginning for global relations (for many years the U.S. didn’t even pay its UN dues), also reveled the death of the old order of the patriarchal dictator through the appearance of Muammar Kadhafi, the Libyan leader who hogged the podium for 45 minutes (he was only supposed to speak for 15) with a rambling address projecting Saturn, which caused members of the audience to either turn off their earphones or walk out.

Colonel Muammr al-Qaddafi June 1, 1942 at 12:00 PM* (unknown) in Syrte, Libya (Libye), who

From the New York Times front page report: “After being introduced in the General Assembly Hall as the “leader of the revolution, the president of the African Union, the king of kings of Africa,” Colonel Qaddafi shattered protocol by giving a rambling speech that stretched for 90 minutes instead of the allotted 15.”

Qaddafi’s chart (above) is that of the classic dictator: Saturn conjunct his Sun. ruling Moon in Capricorn.  This is the mythological goat, the status quo that has to be sacrificed to make way for the New.

The leader’s poorly prepared, unorganized speech reveals this individual has not integrated his Saturn.  This is all too clear because Saturn is in Gemini, conjunct Uranus, the planet of revolutionary ideas!  If he hadn’t fallen into the archetype of “King of Kings” braced for a fall, Qaddafi’s chart reveals that he might have had something to contribute to the current Paradigm Leap.  As it is, he has completely lost the charisma that made him stand out among dictators.

A comparison between President Obama’s chart and that of the Fall Equinox reveals precisely what he communicated in his opening of a speech that received applause 9 times:

“I have been in office for just nine months — though some days it seems a lot longer. I am well aware of the expectations that accompany my presidency around the world. These expectations are not about me. Rather, they are rooted, I believe, in a discontent with a status quo that has allowed us to be increasingly defined by our differences, and outpaced by our problems. But they are also rooted in hope — the hope that real change is possible, and the hope that America will be a leader in bringing about such change.”

See full text at:  http://www.nytimes.com/2009/09/24/us/politics/24prexy.text.html

With Obama’s ascendent (17 degrees Aquarius) precisely conjunct transiting Jupiter, and so close to that of the 24 degrees Aquarius rising of the Fall Equinox and , we see the global healing (Chiron conjunct Neptune just behind the ascendent and on the US Moon) taking place with the true authority (North Node in Capricorn) instilled in world leadership at this precarious time.  The chart below emphasizes the U.S. position of Lilith, where Saturn was stationed this spring.  This reveals the hidden anger, the toxicity trapped in the body by those adherents to the “American Dream” (Neptune in Virgo), which now has to be dealt with in a post-consumer culture.

U.S.A. SIbly Natal Chart

U.S.A. SIbly Natal Chart

Obama, through his mother, is of the Grail lineage.  HP made this discovery during D-Day.  Obama is a Payne on his mother’s side and the Payens changed their name to Payne when they went to England, and later to America.

http://genforum.genealogy.com/payne/messages/7019.html

There is a show currently on the History Channel, which I saw on Sunday night.  Holy Grail in America traces the Templers’ plans for America as the New Jeruselum to the Henry Sinclair’s voyage to Nova Scotia in the 1390’s, where  it is believed the Templar treasured is buried, in a hole in the ground known as the Money Pit!

history-channel-holy-grail-in-america-historical-sequence-ancient-stone-building-ruins-tin-copper-mining-oak-island-nova-scotia-money-pit-shaft-knights-templar-henry-sinclair-owned-niccolo-antonio-zen/

The new direction for America, represented by Obama and his lineage, is in the Finger of God in the Fall Equinox chart for New York City, where global leaders are gathering this week.

The Yod, in the next 10 days has the Aquarian stellum at the apex (to) and Mars/South Node at the left bottom corner and Saturn/Mercury in Virgo at the right bottom corner.

The Yod, in the next 10 days has the Aquarian stellum at the apex (to) and Mars/South Node at the left bottom corner and Saturn/Mercury in Virgo at the right bottom corner.

The Aquarian ascendent and planets at the apex to the sextile between the feminine energies of Mars in Cancer conjunct the South Node and the qudrupile conjunction of Pallas, Mercury, Sun and Saturn in Virgo in the 7th house conjunct the U.S. Neptune and Obama’s Mars.

The US president is serving as an agent for change, at the expense of the illusions upheld by the consumerist culture, which actually undermine the true ideals of America, founded by the Templars as the New Jerusalem ruled by the alchemist’s adage “as above, so below” and expressed in the Templar tradition of sacred geometry found in Solomon’s Temple.

George Washington in his Mason Apron Laying the Cornerstone for the U.S. Capitol

George Washington in his Mason Apron Laying the Cornerstone for the U.S. Capitol

This too is the subject of Dan Brown’s new book: “The Lost Symbol.”

The Black Madonna exhibition aims to restore the balance lost through the resurrection of the Lost Bride of the gospels and bringing the Kundalini into the art world dialectic.  What Carolee Schneemann (below) began as an intrepid feminist explorer, we shall continue in her wake!’  The secret knowledge of the Serpent Power kept by the arcane orders will be made known to everyone!

Carollee Schneemann's "Eye Body" in Black Madonna

Carollee Schneemann's "Eye Body" in Black Madonna

STREAMING KUNDALINI “ABOVE GROUND”

September 21, 2009 by lisapaul1000


Layout 1

Closing Evnet: 25 September 2009, from 7 PM to 10 PM

www.hpgarciagallery.com

HPGarcia Gallery is pleased to announce a closing celebration of BLACK MADONNA with catalog introduction and final HP Salon of the groundbreaking multimedia group exhibition inspired by the compelling Mark Wiener underground photographic works known as The Black Madonna Series.

In a spontaneous painting performance to improvised music, performance painter Michael Manning will integrate his motif of the Kundalini Serpent Power with Mark Wiener’s performance with multimedia works based on the pop star icon.  Improvising with the painters are the musicians: David Manuel (digital), David Intrator (sax) and Yukari (flute).

The performance will be streamed live to the home page of www.mwienerarts.com

The exhibition catalog will be introduced.  It features 40 artists, with the essay Black Madonna: The Great Work written by co-curator  Lisa Paul Streitfeld.

The closing performance acts as the Uroboros for the three previous HP Salons, bringing full circle the underground iconography of the long-repressed feminine into the Aquarian consciousness through the Internet. This final experiment brings the exploration of the Heisenberg Principle that launched this groundbreaking exhibition to a hopeful conclusion.

Curated by Lisa Paul Streitfeld and H.P. Garcia, this multimedia exhibition explores the physical form of the icon within the context of a celebrity-obsessed, corporate-manipulated consumer culture.  The answer points to the body and how we perceive and view ourselves under such influences.

In legend, the Black Madonna was the “San Graal” (Holy Blood) who carried the lineage of Christ through the centuries. We revisit this icon as we seek the physical form of what scientists are now naming “dark matter.”  The men and women in this exhibition have made the journey inward, in the context of the consumer culture, to explore what continues to be repressed. By way of erotic engagement — between their materials, personal narrative and universal archetype — they newly define themselves in a state of holism.

The exhibition places new and existing art stars such as Carolee Schneemann, Heide Hatry, Richard Humann, Sophie Matisse, Rick Prol, Marshall Arisman, Dove Bradshaw, Martha Wilson, Kate Millett, RIchard Move and Mike Bidlo in a 21st century context while celebrating the rise of a new movement devoted to holism in art.

Subjects range from the female face to the sacred geometry of Venus, bringing in themes such as shamanism, apocalyptic pop, celebrity satire, the excavation of hidden mythologies and the counterculture embrace of a new cosmology. Mark Wiener’s The Black Madonna Series captures the icon in its raw state. Aartist/performer in the tradition of Yves Klein, Wiener’s installation incorporates his full circle trajectory — from using markings on the body to explore a new iconography to his recent actions revealing the sacred geometry underlying chaos.

The exhibition presents works in painting, photography, video, collage, drawing, sculpture, installation and performance that find a face for the long repressed feminine. These are typically works that, in the words of curator/critic Lisa Paul Streitfeld: “continue the legend of the Black Madonna by being kept in the closet. They are the hidden treasures that every curator hopes to find in the process of digging through an artist’s work and need be coaxed into the light of day.”

All but one of the works were pre-existing to the announcement of this show.  In exploring the past through this present lens of integration in the post-Obama era, the exhibition points to a new cosmology through the conscious manifestation of the sacred geometry of Venus into art, thereby redefining beauty as a holistic integration of mind and body.

Also participating are: Vincent Baldasano, Karen Bernard, Laurel Jay Carpenter, Linda DiGusta, Maya Erdelyi, Camille Eskell, Carla Gannis, Harlan Emil Gruber,Selma Karaca, Walter Kenul, Isolde Kille, Marni Kotak, Yulia Lanina, D. Dominick Lombardi, Michael Manning, Irina Movmyga, Kevin Robinson, Daniel Rothbart, Donna Ruff, Janet Rutkowski, Iris Schieferstein, Joel Simpson, Marissa  Soroudil, Tatyana Stepanova, Danielle St Laurent, Cassie Thornton, Susan Weinreich and Michael Zansky.